Chinese  Paintings 


1 


The  Metropolitan  Museum 
of  Art 


Special  Exhibition 
of 

Chinese  Paintings 

From  the  Collection  of 
the  Museum 

Catalogue 

by 

John  C.  Ferguson 

X 

t 


New  York 
M C M X I V 


1! 


m, 


Table  of  Contents 


Page 


Frontispiece  Opposite  Title-page  . 

Table  of  Contents v 

List  of  Illustrations vii 

Introduction ix 

Catalogue 

Paintings 3 

Albums 49 

K’o  Ssu 61 

Appendix 

List  of  Dynasties 65 

List  of  Divisions  of  Chinese  Paintings  . 65 

Classification  of  Paintings  ....  66 

The  Six  Canons 67 

The  Six  Necessities 67 

The  Three  Faults 68 

Bibliography 69 

Index 71 


V 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/specialexhibitioOOmetr 


List  of  Illustrations 


Facing  Page 

No.  1 — The  Hills  of  Kuei-chi.  Attributed 
to  Ku  K’ai-chi.  Eastern  Tsing 


Dynasty 3 

No.  2 — Ladies  with  Fans.  Attributed 

to  Chou  Fang.  T’ang  Dynasty  . 4 

No.  3 — The  Ten  Horses.  By  P’ei  K’uan  . 5 

No.  5 — Sakyamuni.  T’ang  Dynasty  . 6 

No.  8 — Returning  from  a Banquet.  By 

Ku  Hung-chung.  Five  Dy- 
nasties   8 

No.  14 — A Winter  Landscape.  By  Fan 

K’uan.  Sung  Dynasty  ...  12 

No.  15 — A Landscape.  By  Tung  Yuan. 

Sung  Dynasty 13 


No.  18 — Wang  Ch’uan  Villa.  By  Kuo 

Chung-shu.  Sung  Dynasty  . . 14 

No.  19 — Mountain  Wayfarers.  By  Kuo- 

Hsi.  Sung  Dynasty  . . . . 15 

No.  23 — Portrait  of  Fan  Chung-yen.  Sung 

Dynasty 18 

No.  26 — Meditations.  By  Li  Kung-lin. 

Sung  Dynasty 19 

vii 


List  of  Illustrations 


Facing  Page 

No.  29 — The  Happy  Magpies.  Attributed 

to  Ma  K’uei.  Sung  Dynasty  . 22 

No.  31 — A Landscape.  Attributed  to  Hsia 

Kuei.  Sung  Dynasty  . . .23 

No.  36 — Judging  a Horse.  Attributed  to 

Chao  Meng-fu.  Yuan  Dynasty.  26 
No.  44 — The  Three  Scholars.  By  Fang 

Fang-hu.  Yiian  Dynasty  . . 30 


viii 


Introduction 


The  interest  in  Chinese  paintings  which  is 
awakening  in  occidental  countries  evinces 
not  so  much  the  cosmopolitan  spirit  as 
the  recognition  of  the  universality  of  art. 
Accustomed  as  we  had  been  to  look  to  Greece 
and  Rome  as  the  fountain-heads  from  which 
copious  streams  have  flowed  into  the  less 
imaginative  European  countries,  it  was  not 
without  reluctance  that  we  were  obliged  years 
ago  to  confess  that  even  these  early  springs  had 
been  fed  from  higher  sources  that  had  also  re- 
freshed the  soul  life  of  Egypt,  Assyria,  |and 
India.  At  a later  period  the  charming  verdure 
of  Japanese  art  fields  made  its  winning  appeal 
to  the  western  world  as  having  been  watered 
from  the  unfailing  sources.  We  are  now  dis- 
covering that  in  addition  to  the  high  develop- 
ment of  art  in  China  as  manifested  in  the  beauti- 
ful porcelains  and  their  prototypes,  the  refined 
potteries,  there  are  wonderful  bronzes,  impres- 
sive statues,  and  masterly  paintings.  Thus 
new  streams  are  being  discovered  up  which  we 

ix 


Introduction 


travel  toward  the  common  source  where  we 
find  the  human  heart  seeking  to  express  in  some 
art  form  its  noblest  and  highest  emotions.  We 
need  not  search  for  favoring  surroundings  or  the 
spirit  of  an  age  or  some  rare  heaven-inspired 
genius  from  which  we  might  expect  art  to  come 
forth;  our  search  need  only  be  for  the  scattered 
haunts  of  man;  for  wherever  man  has  lived, 
traces  of  art  are  to  be  found.  Where  man  has 
evolved  for  himself  a civilization,  art  has  claimed 
its  portion.  In  a highly  developed  civilization 
such  as  China  has  had  for  more  than  two 
thousand  years  art  has  flourished  by  the  side 
of  literature.  The  simple  fact  that  it  is  only  in 
recent  years  that  we  of  the  western  world  have 
begun  to  realize  the  importance  and  the  extent 
of  China’s  art  product  does  not  in  any  way 
reflect  upon  its  worth.  It  is  only  another  indi- 
cation of  the  ease  with  which  intercommunica- 
tion breaks  down  the  artificial  barriers,  separat- 
ing those  who  in  different  parts  of  the  world 
have  been  developing  their  nobler  ideas  into 
some  form  of  art  and  who,  at  the  same  time,  have 
not  been  privileged  to  see  each  other’s  work. 

The  origin  of  painting  in  China  is  very  remote. 
It  extends  back  into  the  classical  period  five 
hundred  years  before  Christ;  but  up  to  the 
present  time  no  traces  of  early  specimens  of  this 
art  have  been  discovered,  though  carefully 
preserved  historical  records  give  the  names  of 

X 


I htroduction 

early  painters  and  many  details  of  their  works. 
Pictures  by  these  early  artists  were  frequently 
reproduced  on  stone  tablets,  and  it  is  certain 
that  as  the  comparison  of  literary  records  with 
stone  monuments  progresses  we  shall  discover 
some  valuable  reproductions  of  early  painters. 
The  frailty  of  silk  and  paper,  even  though  both 
were  made  with  marvelous  skill,  has  made 
difficult  the  work  of  preserving  early  specimens. 
The  records  of  the  Dynasties  of  T’ang  (A.D.  6i8- 
906)  and  of  Sung  (A.  D.  960-1280)  show  that 
the  paintings  of  the  Wei  and  Tsin  Dynasties 
of  the  third  and  fourth  centuries  were  being 
copied  by  famous  artists.  The  purpose  of 
such  copying  was  not  only  to  recognize  the  worth 
of  these  earlier  paintings  but  also  to  preserve 
them.  It  is  due  to  the  diligence  of  these 
copyists  that  we  have  preserved  to  our  times 
accurate  reproductions  of  the  style  of  the  work 
of  an  Emperor  of  the  Wei  Dynasty,  of  Ku 
Kai-chi  of  the  Eastern  Tsin  and  of  Chen  Tzu- 
ch’ien  of  the  Sui.  The  authenticated  examples 
of  Chinese  paintings  which  have  been  known  to 
connoisseurs  in  China  during  the  late  Manchu 
Dynasty  extend  back  to  Li  Ssu-hsuing  (about 
A.  D.  700)  of  the  T’ang  Dynasty  and  this  date 
is  a safe  point  of  departure  for  the  study  of  the 
development  of  Chinese  painting.  The  tradi- 
tions, ideals,  and  canons  of  the  earlier  periods  of 
pictorial  art  were  preserved  and  transmitted  by 

xi 


I ntroduction 

T’ang  artists.  It  is  not  at  all  probable  that  we 
should  learn  any  new  facts  about  early  Chinese 
painting,  even  if  discoveries  of  specimens  ante- 
dating the  T’ang  Dynasty  were  to  be  made,  for 
the  literary  records  and  the  artistic  reproduc- 
tions of  this  period  are  fully  illustrative  of  the 
earlier  products. 

The  historical  records  of  the  development  of 
Chinese  pictorial  art  are  voluminous.  They 
have  been  collected  into  cyclopaedic  form  in  the 
P’ei  Wen  Chai,  which  gives  one  of  the  most 
complete  collections  to  be  found  of  early  com- 
ments upon  painting,  of  the  names  of  painters, 
of  colophons  attached  to  paintings,  and  of  other 
historical  documents  relating  to  this  subject. 
The  Wang  Shih  Shu  Hua  Yuan,  published  about 
1600,  is  another  valuable  source  of  information, 
but  for  scholarly  accuracy  and  careful  criticism 
of  the  T’ang,  Sung,  and  Yuan  periods  no  book 
excels  Ching  Ho  Shu  Hua  Fang. 

Professor  Hirth  in  his  chapter  on  Some  Old 
Art  Histories  in  Scraps  from  a Collector’s  Note- 
book gives  a valuable  bibliography  which  con- 
tains almost  all  of  the  recognized  authorities. 
I should  like  to  add  to  this  list  the  name  of  a 
book  to  which  Professor  Hirth  made  only  a 
brief  reference  for  the  reason  that  he  had  not 
been  able  to  procure  a copy  of  it — Moh  Yuan 
Hui  Kuan.  This  book  contains  critical  accounts 
of  the  private  collection  of  An  I-chow,  a Corean 

xii 


I ntroduction 

resident  at  Tientsin  where  he  carried  on  the 
prosperous  business  of  a salt  merchant.  This 
collection  was  scattered  and  its  contents  have 
found  their  way  into  the  hands  of  careful  col- 
lectors who  place  high  value  upon  anything 
which  has  met  the  approval  of  this  keen  Corean 
connoisseur.  The  Emperor  Chien  Lung  pro- 
cured many  specimens  from  this  collection  for 
his  palace.  In  various  places  1 have  seen  a score 
or  more  of  these  specimens,  and  without  excep- 
tion all  were  of  the  highest  artistic  value.  With 
historical  records  Chinese  pictorial  art  is  better 
supplied  than  that  of  any  other  nation.  These 
literary  records  vary  in  value  and  in  credibility; 
but  after  putting  aside  those  which  may  be 
doubted,  there  remains  a generous  number  of 
authentic  critical  volumes  which  give  complete 
and  accurate  information  on  Chinese  painting 
from  its  beginning  down  to  the  present  time. 
It  is  unfortunate  that  these  paintings  have  come 
to  the  knowledge  of  occidental  collectors  before 
the  records  have  been  available  through  trans- 
lations, but  much  valuable  work  in  translation 
has  already  been  done  by  Hirth,  Giles,  and 
Pettrucci.  To  those  unable  to  read  Chinese  the 
task  of  collection  must  be  guided  largely  by 
aesthetic  taste,  together  with  such  information 
as  has  already  been  published;  but  as  soon  as 
the  standard  authorities  are  made  available 
through  further  translations,  it  will  be  possible 
xiii 


I ntroduction 

for  any  trained  critic  to  know  accurately  the 
correct  interpretation  of  Chinese  paintings. 

It  thus  occurs  that  the  Chinese  collector  places 
great  importance  upon  the  records  of  any  paint- 
ing of  unusual  merit.  When  he  sees  a picture 
for  the  first  time,  it  is  the  aesthetic  value  which 
first  appeals  to  him.  If  there  is  no  such  value, 
little  further  attention  is  paid  to  the  picture; 
but  if  the  design,  the  colors,  the  silk,  or  the  paper 
used  by  the  artist  show  marks  of  distinction, 
the  next  question  which  arises  relates  to  the 
historical  records.  Is  there  a colophon  and  by 
whom  was  it  written?  What  seals  have  been 
impressed  upon  the  edges  of  the  picture  and  to 
whom  did  these  seals  belong?  If  the  colophons 
and  seals  are  of  men  contemporary  of,  or  im- 
mediately subsequent  to,  the  artist  and  if  the 
picture  bears  these  identifications  down  through 
the  following  years,  the  picture  which  bears 
them  is  thus  traceable  in  the  records.  It  is 
then  spoken  of  as  choh-lu — known  in  the  records 
— and  its  intrinsic  value  is  greatly  enhanced. 
The  attempt  to  imitate  seals,  signatures,  and 
colophons  has  been  persistent  for  many  genera- 
tions and  great  care  coupled  with  much  observa- 
tion is  needed  in  order  to  distinguish  the  genuine 
from  the  spurious;  but  in  this  work  the  knowl- 
edge of  textures,  qualities  of  ink  used  and 
peculiarities  of  seal  carving  enable  the  critic  to 
proceed  with  some  degree  of  accuracy. 

xiv 


I ntroduction 

The  collection  of  Chinese  paintings  belonging 
to  the  Museum  was  made  with  the  purpose 
of  representing  various  periods  and  various 
schools  or  divisions  of  painting.  Lists  of 
these  periods  and  divisions  may  be  found  in 
the  Appendix.  It  has  not  been  possible  to 
include  specimens  of  each  school  in  every  period, 
but  in  some  period  there  is  an  illustrative 
specimen  of  each  school.  The  collection  will 
be  found  lacking  in  the  names  of  many  famous 
painters,  but  these  may  be  supplied  during  the 
years  to  come  as  interest  in  this  phase  of  art 
increases.  However,  it  is  hoped  that  the  col- 
lection will  be  found  to  contain  sufficient  variety 
as  to  periods  and  schools  to  enable  the  serious 
student  to  form  a basis  for  intelligent  compre- 
hension of  an  art  which  has  only  recently  begun 
to  make  its  appeal,  while  at  the  same  time  the 
casual  visitor  may  see  that  such  artistic  pro- 
ductions rightly  claim  their  place  among  the 
art  products  of  men  of  other  races. 


XV 


Catalogue 


Paintings 


I 

The  Hills  of  Kuei-chi 
Attributed  to  Ku  K’ai-chi  (about  A.  D.  400) 
Eastern  Tsin  Dynasty 

Ku  K’ai-chi  stands  at  the  head  of  the  Great 
Masters  in  art,  the  other  three  associated  with 
him  being  Lu  T’an-wei,  Chang  Seng-yu,  and 
Wu  Cheng.  He  is  said  to  have  been  the  greatest 
painter,  the  greatest  raconteur,  and  the  greatest 
genius  of  his  time.  He  is  also  known  as  Ku 
Ch’ang-kang  and  more  popularly  as  Ku  Hu-t’ou, 
which  means  “Tiger-head.”  In  Chinese  picto- 
rial art  he  is  considered  to  have  been  unequaled. 
Much  of  his  work  was  done  in  temples  as  mural 
decoration,  one  of  his  most  famous  paintings 
being  in  the  Wa  Kuan  temple  at  Nanking. 

An  inscription  on  this  scroll  by  the  Emperor 
Hsiian-ho  says,  “ 1 have  seen  religious  paintings 
by  Ku  K’ai-chi  and  also  his  portraitures,  but 
this  is  the  only  specimen  of  his  landscape  work 
that  has  come  to  my  eyes.” 

This  specimen  is  probably  a copy  made 
in  the  T’ang  Dynasty  or  in  the  earlier  years  of 

3 


Catalogue  of  Chinese  Paintings 

the  Sung  Dynasty.  The  earliest  seal  is  that  of 
the  Emperor  Chen  Kuang  (A.  D.  627-650)  of  the 
T’ang  Dynasty,  but  it  has  not  been  possible  as 
yet  to  confirm  the  genuineness  of  this  seal. 

In  the  Su  Hua  P'ing,  one  of  the  earliest  books 
on  Chinese  pictorial  art,  written  in  the  sixth 
century  A.D.  (see  Hirth's  Notes  on  Old  Art 
Historians),  two  pictures  by  Ku  K’ai-chi  are 
mentioned  bearing  the  title  “The  Customs  of 
Yueh.’'  Yueh  is  the  eastern  portion  of  Cheh- 
kiang  province,  which  according  to  the  Empe- 
ror’s inscription  on  this  picture  is  the  region 
herein  depicted. 

This  is  one  of  three  known  pictures  ascribed 
to  Ku  K’ai-chi,  one  other  being  in  the  British 
Museum  and  the  third  in  the  collection  of  the 
late  Viceroy  Tuan  Fang. 

See  Wang  Shih  Shu  Hua  Fang,  I,  25. 

2 

Ladies  with  Fans 

Attributed  to  Chou  Fang  (about  A.  D.  800) 
T’ang  Dynasty 

This  picture  of  a palace  garden  represents 
four  palace  ladies  with  their  female  attendants 
and  children.  The  ladies  exhibit  conspicuously 
their  fans,  which  had  recently  become  popular. 
The  coloring  of  this  picture  is  exquisite.  Dur- 
ing the  Sung  Dynasty,  it  was  ascribed  to  Chou 
Fang;  and,  although  there  is  no  other  evidence 

4 


No.  ^ 

The  Ten  Horses 
By  P’ei  K’lian 
T’ang  Dynasty 


Catalogue  of  Chinese  Paintings 

than  this  inscription  to  verify  its  authenticity, 
yet  the  style  agrees  fully  with  that  ascribed  to 
Chou  Fang  in  contemporary  records. 

The  silk  upon  which  the  painting  was  made 
is  of  the  fine  beaten  type  commonly  used  by 
T’ang  artists. 

See  Chhng  Ho  Shu  Hua  Fang,  II,  53;  T’ieh 
Wang  Shan  Hu,  XVIII,  6;  XIX,  9. 

3 

The  Ten  Horses 
By  P’ei  K'uan 
T’ang  Dynasty 

This  painting  is  also  known  by  the  name  of 
Small  Horses.  The  artist  is  mentioned  in  the 
Imperial  Catalogue  of  Hsiian  Ho  and  also  in  the 
Hua  Chien  of  T’ang  Hou  published  in  1 330,  but 
little  is  known  of  his  life. 

In  ancient  times  horses  were  symbols  of 
gentlemen,  typifying  the  qualities  of  dignity, 
strength  and  obedience. 

A copy  of  this  picture  made  by  Chao  Meng-fu 
(about  A.  D.  1300)  is  attached.  It  illustrates 
the  method  of  Chinese  artists  who  never  sought 
to  make  exact  copies  but  to  reproduce  the  orig- 
inal idea,  adapting  the  details  to  the  style  of 
the  copyist.  Many  variations  in  details  will  be 
found  by  comparing  the  original  and  the  copy. 

See  Chhng  Ho  Shu  Hua  Fang,  HI,  79;  Jang 
Li  Kuan,  VII,  17. 


5 


Catalogue  of  Chinese  Paintings 
4 

Journey  of  T’ien  Wang  (Devaradja) 
Unsigned.  By  an  artist  of  the  T’ang  Dynasty 
(A.  D.  618-906)  Probably  by  Wu  Tao-tsu 

Then  Wang  and  his  journeys  were  favorite 
subjects  with  the  artists  of  the  T’ang  Dynasty. 
Buddhism  at  this  time  had  gained  supremacy  in 
pictorial  art  and  its  subjects  commanded  the 
attention  of  the  best  artists.  Paintings  of 
such  religious  subjects  were  not  only  treasured 
by  temples,  but  were  eagerly  sought  after  by 
princes  and  statesmen. 

This  picture  represents  Devaradja  taking  a 
journey  accompanied  by  his  two  servants. 
The  faces  are  those  of  natives  of  India.  The 
influence  of  Indian  Buddhism  upon  Chinese  art 
is  well  illustrated  by  this  picture. 

It  is  not  signed,  but  it  is  in  the  style  of  Wu 
Tao-tsu.  It  is  probably  his  work  or  that  of 
one  of  his  pupils. 


5 

Sakyamuni,  the  Founder  of  Chinese 
Buddhism 

By  an  artist  of  the  T’ang  Dynasty  (A.D.  618- 
906),  probably  Chu  Yu 


Sakyamuni,  mighty  in  charity  and  dwelling 
in  silence  and  seclusion,  was  the  last  of  the  Seven 

6 


No.  5 
Sakyamuni 
T’ang  Dynasty 


Catalogue  of  Chinese  Paintings 

Ancient  Buddhas;  he  is  the  reputed  founder  of 
Chinese  Buddhism  and  his  name  stands  at  the 
head  of  the  Buddhistic  deities  reverenced  in 
China,  as  that  of  Gautama  in  other  Buddhistic 
countries.  On  either  side  stands  a disciple. 

Buddhistic  subjects  were  much  favored  by 
the  artists  of  the  T’ang  and  Northern  Sung 
Dynasties.  In  catalogues  of  these  periods  re- 
ligious paintings  were  rated  higher  than  land- 
scapes or  any  other  class. 

This  picture  is  not  signed,  as  it  was  not 
customary  at  this  time  for  artists  to  attach  their 
names  to  their  pictures.  It  is  probably  the 
work  of  Chu  Yu,  who  was  a prolific  painter  of 
Buddhistic  deities. 


6 

An  Autumnal  Grove 
By  Yang  Shen  (about  A.  D.  720) 

T’ang  Dynasty 

Yang  Shen  is  classed  among  the  painters  of 
human  figures  in  the  Imperial  Catalogue  of 
Hsiian  Ho  but  in  the  name  of  this  picture  written 
across  the  top  of  it  by  this  Emperor — Hsiian  Ho, 
in  his  own  handwriting,  we  have  his  authority 
for  ascribing  a landscape  to  this  artist.  The 
genuineness  of  the  picture  is  attested  not  only 
by  this  ascription  but  also  by  two  imperial  seals 
of  the  Sung  Dynasty.  Unfortunately  the  pic- 

7 


Catalogue  of  Chinese  Paintings 

ture  has  been  injured  by  mildew  so  that  it  is 
somewhat  indistinct. 


7 

Buddhist  Prayer  Rolls 
Tang  Dynasty 

These  were  written  for  the  use  of  priests  in 
their  temple  services  and  also  to  preserve  in 
temples  the  Buddhist  prayers  before  books  had 
become  common.  These  prayers  are  transla- 
tions of  those  used  earlier  by  Buddhism  in 
India.  The  calligraphy  is  mediocre  and  can- 
not equal  many  extant  specimens  of  the  T’ang 
Dynasty. 


8 

Returning  from  a Banquet 
By  Ku  Hung-chung  (about  A.  D.  950) 

Five  Dynasties 

The  signature  of  this  picture  is  almost  obliter- 
ated, but  can  still  be  recognized.  It  is  men- 
tioned in  the  Imperial  Catalogue  of  Hsiian  Ho. 
The  life  of  this  picture,  the  harmonious  blending 
of  colors,  and  the  boldness  of  conception  make 
it  a striking  example  of  early  painting.  Similar 
banqueting  scenes  are  among  the  subjects  of 
paintings  by  Tang  and  Sung  artists,  recalling 
the  gaiety  and  dissipation  of  the  T’ang  period. 

See  P’ei  Wen  Chai,  LXXXII,  6. 

8 


No.  8 

Returning  from  a Banquet 
By  Ku  Hung-chung 
Five  D\nasties 


Catalogue  of  Chinese  Paintings 
9 

The  Gathering  of  the  Feathery  Tribes 
among  Sprouting  Bamboos 
By  Tiao  Kuang  (about  A.  D.  900) 

Five  Dynasties 

Tiao  Kuang,  who  is  known  also  as  Tiao 
Kuang-yin,  is  sometimes  classified  in  the  T'ang 
Dynasty;  but  as  he  did  not  die  until  after  the 
beginning  of  the  Five  Dynasties,  he  is  more 
often  assigned  to  this  later  period.  He  is  con- 
sidered to  be  one  of  the  foremost  among  the 
painters  of  flowers  and  birds  (Hwa  Niao). 
He  was  a native  of  Chang-an  (Si-an-fu)  in  Shensi 
province,  but  he  lived  for  many  years  in  the 
province  of  Szechuan,  where  he  painted  moun- 
tain rocks,  flowers,  bamboos,  cats,  hares,  birds, 
peacocks,  and  other  animals.  He  continued 
painting  until  he  was  more  than  eighty  years  of 
age.  Some  of  his  best  work  was  to  be  found 
in  the  mural  decorations  of  temples  in  Szechuan. 
The  Emperor  Hsiian-ho  names  twenty-four  of 
his  works  in  the  Imperial  Collection,  all  of  which 
were  pictures  of  birds  and  flowers.  Mention  is 
made  in  other  books  of  similar  pictures  by  this 
artist. 

This  scroll  is  attested  by  the  seals  of  many 
well  known  connoisseurs. 

See  P’ei  Wen  Chai,  LXXXV,  27. 


9 


Catalogue  of  Chinese  Paintings 
10 

A Buddhist  Devotee 
By  Kuan  Hsiu  (about  A.  D.  940) 

Five  Dynasties 

An  indistinct  early  ascription  on  the  left  hand 
border  of  this  painting  names  Kuan  Hsiu  as  the 
artist  who  painted  it.  Kuan  Hsiu  painted  the 
Sixteen  Lohan  and  also  the  Ten  Disciples  of 
Buddha  and  his  work  is  highly  praised  in  the 
Imperial  Catalogue  of  Hsiian  Ho  as  well  as  by 
Mi  Fei  at  a later  date.  This  painting  depicts 
one  of  the  Lohan  attended  by  a servant. 

See  Ch'ing  Ho  Shu  Hua  Fang,  IV,  32. 

1 1 

Birds  and  Flowers 
By  Huang  Ch’iian  (about  A.  D.  950) 

Five  Dynasties 

The  two  characters  Huang  Ch’iian  may  be 
found  on  the  left  hand  border  of  this  painting 
but  whether  they  are  the  artist’s  own  signature 
or  an  ascription  by  ah  early  connoisseur  cannot 
be  decided  with  present  information.  Huang 
was  a pupil  of  Tiao  Kuan-yin  (see  No.  10)  and 
his  work  bears  a strong  resemblance  to  that  of 
his  master.  Three  hundred  and  forty-nine  of 
his  pictures  are  mentioned  in  the  Imperial 
Catalogue  of  Hsiian  Ho,  nearly  all  of  which  were 
combinations  of  birds  and  flowers. 


10 


Catalogue  of  Chinese  Paintings 
12 

Fishing 

By  Lu  Kuang  (about  A.  D.  i6o) 

Five  Dynasties 

This  is  only  a fragment  of  a larger  picture.  1 1 
was  rescued  by  An  I -chow,  the  author  of  Mo 
Yuan  Hui  Kuan,  and  recorded  by  him.  It  has 
suffered  from  exposure  to  dampness  but  enough 
of  the  original  beauty  of  the  picture  remains  to 
show  that  this  artist  had  great  ability. 

See  Mo  Yuan  Hui  Kuan,  III. 


13 

A Winter  Scene 
By  Li  Ch’eng  (about  A.  D.  975) 

Sung  Dynasty 

This  landscape  was  called  Han  Ling,  i.e. 
Winter  Grove,  in  the  Imperial  Catalogue  of 
Hsiian  Ho,  but  by  later  writers  has  been  called 
Han  Ya,  that  is.  Winter  Magpies.  Li  Ch'eng  was 
great  master  of  his  art.  He  loved  to  spend  long 
periods  of  time  wandering  on  lonely  hills  and 
catching  glimpses  of  them  in  all  their  changing 
color  effects.  Specimens  of  his  work  are  very 
rare. 

See  under  author’s  name  in  Hsiian  Ho  Hua 
P’u;  Ching  Ho  Shu  Hua  Fang,  VI,  26. 


Catalogue  of  Chinese  Paintings 

14 

A Winter  Landscape 
By  Fan  K’uan  (A.  D.  1000) 

Sung  Dynasty 

Fan  K'uan  is  more  generally  spoken  of  as 
Fan  Hua-yuan.  He  loved  to  spend  his  time  in 
the  hills  and  forests.  His  landscapes  repre- 
sented the  rugged  hills  of  Shensi,  where  he  lived 
for  many  years.  He  is  recognized  as  one  of 
the  two  founders  of  the  Northern  School  of  the 
Sung  Dynasty,  and  is  honored  by  Chinese 
collectors  as  being  in  the  same  class  as  Li 
Ch’eng.  His  paintings  are  noted  for  their 
strength  and  sublimity. 

See  Jang  Li  Kuan,  VI,  14;  also  Ch’ing  Ho  Shu 
Hua  Fang,  VI,  54. 


15 

A Landscape 

By  Tung  Yuan’(about  A.  D.  1050) 

Sung  Dynasty 

Tung  Yuan,  who  was  a native  of  Kiangnan, 
is  placed  at  the  head  of  the  list  of  the  Sung  land- 
scape painters  in  Hsiian-ho’s  book.  He  was 
fond  of  painting  hills,  precipices,  and  valleys  in 
all  their  varying  moods,  whether  swept  by  storm 
or  covered  with  clouds.  When  looking  at  his 
pictures,  one  might  almost  imagine  himself  to 

12 


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No.  15 

A W'inter  Scene 
By  Li  Ch'eng 
Sung  Dynasty 


Catalogue  of  Chinese  Paintings 

be  in  the  midst  of  these  rugged  scenes  of  nature. 
Seventy-eight  of  his  pictures  are  mentioned  as 
forming  a part  of  Hsiian-ho’s  Imperial  Collec- 
tion. 

This  scroll  is  one  which  was  presented  to  the 
Palace  by  Ch’ien  Sze-yun.  It  is  attested  by  the 
seals  of  Chao  Meng-fu  of  the  Yiian  Dynasty. 
Compare  Hua  Ch’an  Shih,  II,  4. 


16 

Plumage  and  Fur  Amid  Flowers 
By  I Yuan-chi  (about  A.  D.  1050) 

Sung  Dynasty 

I Yiian-chi  was  among  the  most  noted  of  the 
painters  of  flowers  and  birds  in  the  Sung 
Dynasty.  He  was  a very  prolific  artist,  no 
less  than  two  hundred  and  forty-five  specimens 
of  his  work  being  mentioned  in  the  Imperial 
Collection  of  Hsiian-ho.  All  of  these  are  pic- 
tures of  animals  or  vegetable  life.  His  picture 
of  The  Hundred  Gibbons,  in  eight  parts,  is  most 
frequently  referred  to  as  his  masterpiece.  In 
most  of  his  pictures  he  combined  trees  and 
flowers  with  animal  life.  The  animals,  however, 
were  intended  to  be  the  central  feature,  and  trees 
and  flowers  were  only  used  for  the  background. 

This  scroll  is  attested  by  the  seals  of  several 
well-known  collectors. 


•3 


Catalogue  of  Chinese  Paintings 
17 

Instruction 

By  the  Emperor  Hui  Tsung  (A.  D.  1101-1125) 
Sung  Dynasty 

This  painting  by  the  Emperor  Hui  Tsung  is  a 
reproduction  of  a T’ang  Dynasty  original.  It 
represents  the  Emperor  Ming  Huang,  of  the 
T’ang  Dynasty,  instructing  his  son  who  stands 
by  his  side  hesitating  to  take  the  books  handed 
to  him  by  his  father.  An  armed  attendant 
stands  near  watching  the  scene.  The  picture 
is  full  of  life.  The  colophon  written  by  Chao 
Meng-fu  was  lost  but  a copy  of  it  taken  from  the 
P’ei  Wen  Chai  has  been  made  by  Feng  En-Kun, 
one  of  the  best  living  writers  of  the  Chao  style. 
This  copy  is  written  on  old  paper  which  formed 
a part  of  the  mounting  of  the  picture  done  in 
the  Ming  Dynasty. 

See  Fei  Wen  Chai,  LX IX,  5. 


18 

Wang  Ch’uan  Villa 
By  Kuo  Chung-shu  (about  A.  D.  975) 
Sung  Dynasty 

This  is  a copy  of  a painting  by  Wang  Wei 
(A.  D.  699-760)  of  the  T’ang  Dynasty.  Wang 
Wei  was  a peculiar  character  and  did  not  care 
for  official  life  though  he  rose  to  the  high  posi- 

14 


No.  19 

-Mountain  Wayfarers 
By  Kuo-Hsi 
Sung  Dynasty 


Catalogue  of  ChTnese  Paintings 

tion  of  president  of  a board.  He  finally  retired 
and  took  up  his  residence  in  the  country,  where 
he  built  himself  a villa  called  Wang  Ch’uan. 
After  its  completion  he  painted  a picture  of  it 
and  also  wrote  a famous  poem  in  its  praise.  The 
original  painting  was  lost  or  destroyed  before 
the  time  of  the  Ming  Dynasty,  but  Kuo  Chung- 
shu  of  the  Sung  Dynasty  has  preserved  it  by 
this  reproduction.  Kuo  was  a famous  artist 
and  calligraphist.  The  poem  written  by  Wang 
Wei  is  attached  to  this  scroll  in  the  handwriting 
of  Chao  Chung-mo  (about  A.D.  1 350),  a famous 
artist  of  the  Yiian  Dynasty.  This  painting 
by  Kuo  is  one  of  the  best  known  specimens  of 
Chinese  pictorial  art. 

See  Lun  Hua  Chiieh  Chii,  2;  also  Ch’ing  Ho 
Shu  Hua  Fang,  VI,  15;  also  T'ung  Yin,  VH,  16. 


19 

Mountain  Wayfarers 
By  Kuo  Hsi  (about  A.D.  1050) 

Sung  Dynasty 

This  landscape  bears  the  signature  of  its 
famous  author.  Kuo  Hsi  was  a prolific  worker, 
and  a few  specimens  from  his  hand  have  sur- 
vived to  the  present  time.  He  was  an  artist  of 
first  rank,  and  was  able  also  to  express  in  clear 
language  his  conceptions  of  the  requirements  of 
artistic  work.  His  son,  Kuo  Ju-jui,  made  a col- 

15 


Catalogue  of  Chinese  Paintings 

lection  of  the  opinions  of  his  father,  and  this 
record  has  been  preserved  and  has  been  pub- 
lished in  Fenolossa's  Epochs  of  Chinese  and 
Japanese  Art.  Kuo  Hsi’s  work  combined  great 
freedom  of  conception  with  strict  adherence  to 
artistic  canons. 

See  P’ei  Wen  Chai,  LXXXII,29:  also  Wang 
Shih  Shu  Hua  Yuan,  I,  31 ; also  Ch’ing  Ho  Shu 
Hua  Fang,  VI,  30. 


20 

Mountain  Scenery 
By  Kuo  Hsi  (about  A.D.  1050) 

Sung  Dynasty 

Kuo  Hsi  is  more  often  spoken  of  as  Kuo  Ho- 
yang,  Ho-yang  being  the  name  of  his  native 
district.  He  confined  his  work  to  landscape 
painting,  and  all  of  his  thirty  works  which  are 
mentioned  in  Hsiian-ho’s  Imperial  Collection 
are  scenes  from  nature. 

The  authenticity  of  this  scroll  is  well  attested. 

See  No.  19  by  the  same  artist. 


21 

Mountain  Scenery 
By  Kuo  Hsi  (about  A.D.  1050) 
Sung  Dynasty 

See  Nos.  19  and  20  by  the  same  artist. 
16 


Catalogue  of  Chinese  Paintings 
22 

A Landscape 

By  Yen  Wen-Kuei  (i  ith  century) 

Sung  Dynasty 

The  artist’s  signature  is  placed  on  the  sur- 
face of  a tree  near  the  end  of  the  scroll.  Little 
is  known  of  the  life  of  Yen  except  that  he  was 
very  poor  and  found  much  difficulty  in  disposing 
of  his  pictures.  His  style  is  that  of  Li  Ch’eng 
and  his  work  bears  a close  resemblance  to  that 
of  Kuo  Hsi.  He  is  said  to  have  preferred  to 
paint  small  pictures  and  rarely  to  have  at- 
tempted to  paint  one  as  large  as  this  specimen. 
Another  example  of  his  work  may  be  seen  in 
Album  I,  6.  The  seal  of  the  Emperor  Hsiian 
Ho  is  affixed. 

See  P’ei  Wei  Chai,  LXXXH,  22. 


23 

Portrait  of  Fan  Chung-yen 
By  an  Academician  of  the  Shen  Tsung  period 
(A.  D.  1068-1086) 

Sung  Dynasty 

This  portrait  was  presented  to  the  illustrious 
statesman,  Fan  Chung-yen,  in  the  first  month  of 
1068  by  the  Emperor  Shen  Tsung,  styled  Hsi 
Ning.  After  the  usual  custom  in  the  case  of 
presents  bestowed  by  an  Emperor,  it  must  have 

17 


Catalogue  of  Chinese  Paintings 

been  painted  by  a member  of  the  National 
Academy  of  Painting.  It  bears  an  imperial 
inscription  praising  the  virtues  of  Fan  Chung- 
yen  (989-1052),  who  had  rendered  conspicuous 
service  to  two  emperors.  The  brocade  at  the 
top  and  bottom  of  the  portrait  was  also  made  in 
the  Sung  Dynasty  and  is  a part  of  an  early 
mounting. 


24 

Quails 

By  Ai  Hsiian  (about  A.D.  1070) 

Sung  Dynasty 

Ai  Hsiian's  work  was  recognized  as  of  high 
grade  during  the  reign  of  the  Emperor  Shen 
Tsung,  1068-1086,  of  the  Sung  Dynasty.  He 
painted  birds  and  flowers  after  the  style  of  Hsii 
Hsi  and  Chao  Chang,  but  his  specialty  was  the 
painting  of  quails.  In  this  painting  are  shown 
rare  varieties  of  quails,  which  bear  a striking 
resemblance  to  doves. 


25 

The  Arhats 

By  Li  Kung-lin  (about  A.D.  1 100) 

Sung  Dynasty 

Li  is  generally  known  as  Li  Lung-mien,  the 
Dragon-faced  Li.''  He  was  a man  of  brilliant 
18 


No.  23 

Portrait  of  Fan  Chung-yen 
Sung  Dynasty 


No.  26 
Meditations 
By  Li  Kung-lin 
Sung  Dynasty 


Catalogue  of  Chinese  Paintings 

literary  parts  and  attained  high  official  positions. 
While  fond  of  life  in  the  open  air,  he  was  also 
given  to  spending  much  time  in  long  meditations 
on  Buddhistic  doctrines.  He  was  the  most 
famous  painter  of  religious  subjects  in  the 
Sung  Dynasty,  and  a large  proportion  of  his 
one  hundred  and  seven  pictures  in  Hsiian-ho’s 
Imperial  Collection  are  Buddhistic. 

Many  of  Li’s  best  works  were  done  on  paper, 
as  is  this  scroll  which  is  attested  by  several  well- 
known  seals. 

A portion  of  the  seal  of  the  author  may  be 
seen  on  the  edge  of  the  paper  near  the  lower 
left-hand  corner  of  the  picture. 

See  T’ieh  Wang  Shan  Hu,  IV,  3:  also  Ch’ing 
Ho  Shu  Hua  Fang,  VI 1,  56. 


26 

Meditations 

By  Li  Kung-lin  (about  A.D.  1100) 

Sung  Dynasty 

Li  is  more  frequently  referred  to  as  Li  Lung- 
mien,  the  dragon-faced  Li.  He  is  also  known 
as  Li  Pai-shih,  which  is  the  name  subscribed  to 
this  specimen  of  his  work.  The  figure  walking 
in  an  avenue  of  trees  is  that  of  Wang  An-shih, 
the  noted  radical  statesman  of  the  Sung  Dy- 
nasty. 


19 


Catalogue  of  Chinese  Paintings 

The  circular  seal  at  the  top  of  the  picture  is 
that  of  the  Emperor  Hsiian  Ho,  and  one  of  the 
private  seals  at  the  bottom  of  the  picture  is  that 
of  Chia  Ssu-tao,  the  noted  statesman  and  con- 
noisseur of  the  Yiian  Dynasty. 

Li  was  a versatile  as  well  as  a brilliant  artist. 

See  Ch’ing  Ho  Shu  Hua  Fang,  VH,  31,  35; 
also  No.  25  by  the  same  artist. 


27 

The  Orchid  Pavilion  or  Lan  T’ing 
By  Chao  Pai-chu  (XI  century) 

Sung  Dynasty 

This  scene  is  one  which  has  been  painted  by 
artists  of  all  periods — a restful  pavilion  by  the 
side  of  a mountain  stream  and  surrounded  by 
orchids.  The  artist  is  a well-known  landscapist 
more  generally  known  as  Chao  Ch’ien-li — ''the 
thousand-mile  Chao,”  a name  given  to  him  on 
account  of  the  great  extent  of  country  depicted 
in  his  landscapes.  This  specimen  bears  the 
seals  of  the  Emperor  Kao  Tsung  (A.D.  1127- 
1 162)  of  the  Sung  Dynasty  and  has  two  annota- 
tions, one  of  which  was  written  by  T’ang  Yin 
(15th  century),  the  noted  artist  of  the  Ming 
Dynasty. 

See  T’ui  Ang,  XII,  14;  also  Hua  Shih  Lui 
Ch  uan,  XLVH,  5. 


20 


Catalogue  of  Chinese  Paintings 
28 

A Snow  Scene 

By  Liu  Sung-nien  (about  A.  D.  1 175) 

Sung  Dynasty 

Snow  scenes  are  among  the  most  noted  sub- 
jects for  landscape  paintings  by  famous  Chinese 
artists.  Wang  Wei,  Li  T’ang,  Li  Ch’eng,  Kuo 
Chung-shu,  and  others  painted  such  scenes. 
This  picture  is  annotated  by  the  famous  artist 
of  the  Ming  Dynasty,  Wen  Cheng-ming,  who 
states  that  no  other  snow  scene  painting  excels 
this  of  Liu  Sung-nien.  Liu  was  made  a 
member  of  the  National  Academy  of  Painting 
during  the  reign  of  the  Emperor  Kuang  Tsung 
(A.  D.  1190-1195)  of  the  Sung  Dynasty.  His 
work  is  highly  prized  by  Chinese  collectors. 

See  Jang  Li  Kuan,  111,  17. 


29 

The  Happy  Magpies 
Attributed  to  Ma  K'uei  (A.  D.  1200) 
Sung  Dynasty 

The  trees  and  rocks  of  this  picture  are  in  the 
style  of  Ma  Yiian,  who  was  the  younger  brother 
of  Ma  K’uei,  but  the  magpies  in  flight  show  the 
hand  of  Ma  K'uei.  Several  members  of  the  Ma 
family  in  different  generations  attained  to  high 
eminence  as  painters  and  they  all  followed  the 

21 


Catalogue  of  Chinese  Paintings 

same  general  style,  but  Ma  K'uei  was  the  most 
skilful  of  them  in  painting  birds  in  flight.  In 
landscape  work  he  belonged  to  the  Southern 
Sung  School. 


30 

A Mountain  Retreat 
By  Ma  Yuan  (A.D.  1200) 

Sung  Dynasty 

In  the  painting  of  landscapes,  human  figures, 
flowers,  and  birds,  Ma  Yiian  is  said  to  have  been 
the  best  of  the  academicians  of  his  time.  He 
belonged  to  a famous  family  of  painters,  of 
which  several  were  members  of  the  National 
Academy  of  Painting.  He  was  fond  of  paint- 
ing quiet  scenes  into  which  he  projected  great 
strength.  The  picture  is  unsigned,  but  the 
style  and  strength  of  execution  suggest  Ma 
Yiian.  His  style  was  copied  by  later  artists 
and  has  been  much  favored  in  Japan. 


30a 

Under  the  Rock 

In  the  style  of  Ma  Yiian  (A.D.  1200) 
Sung  Dynasty 

See  No.  30. 


22 


No.  29 

The  Happy  Magpies 
Attributed  to  Ma  K’uei 
Sung  Dynasty 


S 


A Landscape 
Allributcd  to  Hsia  Kiici 
Sung  Dynasty 


Catalogue  of  Chinese  Paintings 

31 

A Landscape 

Attributed  to  Hsia  Kuei  (about  A.D.  1200) 
Sung  Dynasty 

Hsia  Kuei  was  a close  friend  of  Ma  Yuan  and 
the  works  of  these  two  artists  bear  close  re- 
semblance to  each  other.  Hsia’s  work  is  bold 
and  virile  after  the  style  of  Fan  K'uan.  He  was 
a noted  scholar  and  a member  of  the  Hanlin 
Academy.  His  human  figures  are  well  painted. 

This  scroll  was  cut  into  two  pieces  by  a 
previous  owner,  who  also  probably  added  the 
name  of  Hsia  Kuei  as  the  author.  There  is 
much  about  the  treatment  of  the  mountains 
and  trees  to  suggest  Ma  Yiian  as  the  author; 
and  traces  of  the  sides  of  the  signature  which 
has  been  cut  away  also  suggest  this  author. 

Compare  Ch’ing  Ho  Shu  Hua  Fang,  X,  38. 

32 

Pine  and  Stork 
By  an  unknown  artist 
Sung  Dynasty 

33 

Tiger  and  Dragon 
By  an  unknown  artist 
Sung  Dynasty 


23 


Catalogue  of  Chinese  Paintings 
34 

A Tiger 

By  an  unknown  artist 
Sung  Dynasty 

Although  the  name  of  the  artist  cannot  be 
ascertained  with  certainty,  the  painting  is  in 
the  style  of  the  great  Taoist  priest,  Li  Kuei-chen, 
of  the  Five  Dynasties.  On  the  lower  left-hand 
side  of  the  picture  there  have  been  written, 
probably  by  some  owner,  the  two  characters 
Tao  Ssu,  meaning  Taoist  priest  and  thus  evinc- 
ing a belief  that  the  painting  is  in  the  style  of 
Li.  The  work  seems,  however,  rather  to  re- 
semble that  of  Sung  artists. 

The  painting  bears  the  seal  of  To-hoan,  the 
ninth  son  of  the  Emperor  Kublai  of  the  Yuan 
Dynasty;  he  was  sent  by  his  father  on  expedi- 
tions against  the  Cambodians  and  in  1287 
against  the  Annamese. 


35 

The  Tangut  Horseman 
Probably  by  Chao  Meng-fu  (about  A.D.  1300) 
Yiian  Dynasty 

Chao  is  more  often  known  as  Chao  Tsu-ang 
and  Chao  Sung-hsueh,  the  latter  title  meaning 
“Pines  and  Snow.’'  A descendant  of  the 
imperial  family  of  the  Sung  Dynasty,  he  rose 

24 


Catalogue  of  Chinese  Paintings 

to  high  position  during  the  reign  of  the  first 
emperor  of  the  Yiian  Dynasty.  He  is  one  of 
the  most  popular  artists  of  China,  this  being 
due,  in  a measure,  to  his  additional  reputation 
as  a beautiful  penman.  He  is  usually  classified 
by  Chinese  critics  along  with  the  best  of  the 
Sung  artists. 

The  original  of  this  picture  was  painted  by 
Hu  Chhen,  a Kitan  Tartar,  son  of  Hu  Huan, 
whose  works  are  mentioned  in  Hsiian  Ho  Hua 
P’u.  Although  the  picture  is  not  signed  it  is 
in  the  style  of  Chao. 


36 

J udging  a Horse 
By  Chao  Meng-fu  (A.D.  1254-1323) 

Yuan  Dynasty 

This  is  a reproduction  of  a famous  picture  by 
Han  Kan  (about  A.D.  750),  of  the  T’ang  Dy- 
nasty. Han  Kan  said  that  the  horses  in  the 
stables  of  Emperor  Then  Pao  (742-756)  were 
his  “teachers”  of  painting.  Chao’s  painting 
is  annotated  by  himself.  He  says  that  Han 
Kan’s  picture  was  purchased  by  his  relative 
Ko  and  that  he  made  this  reproduction  on  the 
second  day  of  the  eighth  moon,  1 306.  Chao 
was  not  only  a great  painter  but  also  a noted 
calligraphist.  This  painting  is  an  excellent 
specimen  of  his  work. 


25 


Catalogue  of  Chinese  Paintings 

37 

Eight  Horses 

Attributed  to  Chao  Meng-fu  (about  A.D.  1300) 
Yiian  Dynasty 

This  picture  is  unsigned,  but  has  been 
credited  by  the  annotation  to  Chao  Meng-fu, 
the  greatest  artist  of  the  Yiian  Dynasty  and 
worthy  to  be  classed  with  the  good  artists  of 
the  Sung  period.  This  picture  is  a reproduc- 
tion of  a famous  picture  of  Shi  Tao-shih  of  the 
Sung  Dynasty.  The  horses  are  of  the  same  type 
as  those  seen  in  Sung  pictures.  Chao  is  one  of 
the  most  popular  artists  in  China. 

See  P’ei  Wen  Chai,  LXXXV,  10. 

38 

The  Great  Arhat 
By  Chao  Meng-fu  (about  A.D.  1300) 

Yuan  Dynasty 

The  vivid  coloring  of  this  picture  is  a faith- 
ful representation  of  the  bright-colored  garments 
worn  by  Buddhistic  priests.  Chao  Meng-fu 
was  among  the  boldest  and  least  restrained  of 
all  Chinese  artists.  His  human  figures  have 
wonderful  animation.  He  is  considered  to 
have  been  the  peer  of  the  Sung  masters  and  to 
stand  at  the  head  of  the  artists  of  the  Yiian 
Dynasty. 

See  Ch'ing  Ho  Shu  Hua  Fang,  V,  32. 

26 


Catalogue  of  Chinese  Paintings 

39 

A Halt  for  Rest 

In  the  style  of  Chao  Chung-mu  (about  A.  D. 
1350) 

Yiian  Dynasty 

Chao  Chung-mu  was  the  son  of  Chao  Meng-fu, 
with  whom  he  frequently  collaborated;  and 
though  his  work  did  not  equal  that  of  his  father, 
yet  it  attained  to  a very  high  standard.  He 
was  fond  of  sketching  trees  and  horses  and  this 
picture  is  typical  of  his  style. 

Compare  Ch’ing  Ho,  X,  54,  Vhere  a similar 
picture  is  ascribed  to  this  artist's  father,  Chao 
Meng-fu. 

40 

Home  Again 

By  Ch'ien  Hsiian  (about  A.  D.  1275) 

Yiian  Dynasty 

The  subject  of  this  painting^is  the  return  to 
his  home  of  T’ao  Chien.  He  was  appointed  to 
the  position  of  a district  magistrate,  but  he 
served  only  a short  time  as  he  objected  “to  re- 
ceive a superior  officer  with  the  usual  ceremonial 
on  the  ground  that  he  could  not  crook  the 
hinges  of  his  back  for  five  pecks  of  rice  a day," 
such  being  the  regulation  pay  of  a magistrate. 
The  picture  shows  the  Five  Willows  mentioned 
in  the  poem  of  T'ao  Chien,  which  is  copied  by 
the  artist  at  the  end  of  the  picture.  T'ao's 

27 


Catalogue  of  Chinese  Paintings 

wife  is  standing  in  the  gate.  This  picture  is 
one  of  the  best  known  in  the  records  of  Chinese 
art;  it  bears  on  its  face  an  annotation  by  the 
Emperor  Ch’ien  Lung  and  also  has  the  seals  of 
famous  connoisseurs  who  have  seen  it. 

See  Mo  Yuan  Hui  Kuan,  111. 

41 

A Beautiful  Grove 
By  Ch’ien  Hsiian  (about  A.  D.  1275) 

Yiian  Dynasty 

Ch’ien  Hsiian  is  more  generally  spoken  of  as 
Ch’ien  Shun-chu.  Disappointed  at  the  rise  of  the 
Mongol  Dynasty,  he  turned  his  literary  talents 
towards  poetry  and  painting.  In  portraits  and 
painting  of  flowers  he  copied  the  work  of  Chao 
Ch’ang,  and  in  landscape  that  of  Chao  Ch’ien-li. 

This  scroll  is  an  example  of  the  elegant  finish 
of  his  work,  and  represents  a noted  garden  of 
the  T’ang  Dynasty,  called  Ch’ing  T’ang  Yiian. 

See  P’ei  Wen  Chai,  LXXXV,  22,  where  the 
name  of  this  picture  is  said  to  be  Watching  the 
Geese,  also  see  Nos.  40  and  41. 

42 

Solitude's  Charm 
By  Ni  Tsan  (A.  D.  1301-1374) 

Yiian  Dynasty 

An  annotation  by  the  artist  in  his  own  hand- 
writing explains  that  the  scene  is  a lonely  hut 

28 


Catalogue  of  Chinese  Paintings 

in  a mountain  ravine  at  the  time  of  full  moon  in 
July.  Thither  the  artist  had  resorted  to  seek 
cool  refreshing  breezes.  Although  a man  of 
wealth  he  preferred  to  spend  his  time  among  the 
recluses  of  hill  temples  and  he  distributed  his 
money  among  his  relatives.  He  is  known  as 
'‘Cloud-Forest” — Ni  Yun-ling. 

See  Tui  Ang,  XIV,  6. 


43 

The  Three  Scholars 
By  Fang  Fang-hu,  a noted  Taoist  Priest  (about 
A.  D.  1380) 

Yiian  Dynasty 

The  original  of  this  picture  was  made  by  the 
Buddhist  priest  Miao  Shan  of  the  Sung  Dy- 
nasty, and  it  was  kept  in  a temple.  After  this 
temple  was  destroyed  by  fire,  the  annotator  of 
this  picture.  Sung  Yung,  requested  his  brother 
priest  Fang  to  reproduce  it. 

In  the  center  of  the  picture  is  Su  Shih  (Su 
Tung-po,  1036-1  loi),  the  noted  poet  and  official 
of  the  Sung  Dynasty.  At  the  left  of  the  picture 
is  his  brother,  Su  Che  (Tzu-yin,  1039-1112), 
who  was  also  a noted  scholar  and  a devotee  of 
Taoism.  On  the  right  of  the  picture,  leaning 
over  and  holding  a scroll  in  both  hands,  is  their 
brother-in-law,  Ch’in  Kuan  (Hsiao-yin,  1049- 
1 101). 


29 


Catalogue  of  Chinese  Paintings 

44 

Bamboo  Sketches 

By  Wu  Chen  (about  A.D.  1400) 

Yiian  Dynasty 

This  scroll  in  seven  parts  is  one  of  a series 
of  ink  sketches  of  bamboo  scenes  made  by  Wu 
Chen.  Wu  Chen  is  more  often  spoken  of  as 
Wu  Chung-kuei  or  as  Mei  Tao-jen,  the  latter 
title  meaning  “ Plum  Priest.''  He  painted  a few 
landscapes,  but  such  work  did  not  allow  him 
sufficient  freedom  for  his  brush,  which  was  at  its 
best  in  sketches  of  bamboos. 

Each  one  of  the  seven  scenes  of  this  scroll  is 
annotated  by  Wu  Chen  himself,  and  his  two 
well-known  seals  are  attached  to  each  annota- 
tion. 

Compare  P'ei  Wen  Chai,  LXXXVl,  19. 

45 

Wind  and  Water 
By  Fang  Fang-hu  (about  A.  D.  1380) 
Yiian  Dynasty 

See  No.  43. 


45a 

Wind  and  Water 
By  Fang  Fang-hu  (about  A.  D.  1380) 
Yiian  Dynasty 


See  No.  45. 


30 


No.  43 

The  Three  Scholars 
By  Fang  Fang-hu 
Yuan  L)\nasty 


Catalogue  of  Chinese  Paintings 

46 

Family  Training 

By  Wang  Cheng-p'eng  (about  A.  D.  1 320) 
Yuan  Dynasty 

The  artist  is  the  most  distinguished  painter 
of  measured  paintings — chieh  hua,  after  the 
time  of  Kuo  Chung-shu.  His  carefully-drawn 
pictures  of  pavilions  and  court-yards  are  in 
exact  proportions.  Ten  views  of  family  train- 
ing are  pictured  and  each  of  these  views  is 
explained  in  the  accompanying  annotation. 
Wang  was  a great  favorite  at  the  court  of  the 
Mongol  Emperor,  Ayuli  Palpata. 


47 

A Lady 

By  an  Unknown  Artist 
Yiian  Dynasty 

Figures  of  beautiful  ladies,  such  as  this,  are 
known  by  the  Chinese  as  “Mei-jen.” 


48 

Watching  the  Phoenix 
By  an  Unknown  Artist 
Yiian  Dynasty 


The  figures  in  this  picture  are  very  striking, 
and  their  dress  is  that  of  the  Mongols. 

31 


Catalogue  of  Chinese  Paintings 


49 

Women  in  Garden 
By  an  Unknown  Artist 
Yiian  Dynasty 


50 

A Landscape 

By  Wang  Fu  (about  A.D.  1400) 

Ming  Dynasty 

Wang  Fu  is  usually  known  as  Wang  Meng- 
tuan.  He  also  liked  to  sign  himself  ''The  Man 
of  the  Nine  Dragon' Hills'’  (Chiu-lung  Shan-jen). 
This  scroll  is  signed  and  dated  by  his  own  hand 
and  is  further  attested  by  the  seals  of  several 
well-known  collectors.  This  artist  was  fond  of 
copying  from  early  masters. 


51 

A Large  Landscape 
By  Shen  Chou  (about  A.D.  1475) 

Ming  Dynasty 

Shen  Chou  is  always  spoken  of  as  Shen 
Shih-t’ien,  which  means  "Shen  of  the  Rocks  and 
Fields.”  He  was  a native  of  Changchow  on  the 
Grand  Canal  north  of  Soochow.  He  was  an 
ardent  disciple  of  Wu  Chen  of  the  Yiian  Dy- 
nasty. He  was  fond  of  painting  large-sized 

32 


Catalogue  of  Chinese  Paintings 

pictures,  and  this  picture  would  have  been  con- 
sidered small  by  him.  This  scroll  is  annotated 
and  signed  by  the  artist  himself. 


52 

A Large  Landscape 
By  T’ang  Yin  (about  A.D.  1525) 

Ming  Dynasty 

The  two  names  usually  given  to  T'ang  Yin 
are  T’ang  Pai-hu  and  T’ang  Liu-ju.  He  is 
classed  with  Shen  Chou  as  being  one  of  the  two 
greatest  artists  of  the  Ming  Dynasty.  He  was 
so  devoted  to  his  art  that  his  health  broke  down 
at  a comparatively  early  age.  He  was  a painter 
of  large-sized  landscapes,  but  perhaps  he  ex- 
celled in  small  sketches.  T'ang  Yin  was  a 
native  of  Kiangsu  province.  He  attained  emi- 
nence also  as  a literary  man.  This  picture  is 
annotated  and  signed  by  the  artist. 


53 

Solitary  Meditation 
By  Wen  Cheng-ming  (about  A.  D.  1550) 
Ming  Dynasty 

Wen  Cheng-ming  had  a distinguished  an- 
cestry and  was  himself  a noted  scholar.  Though 
he  rose  to  high  rank  in  the  Hanlin  Academy, 

33 


Catalogue  of  Chinese  Paintings 

he  was  not  fond  of  his  olficial  friends  and 
studiously  avoided  them.  He  was  of  an  ascetic 
disposition  and  in  his  poetry  rebuked  the  dis- 
play and  luxury  of  the  wealthy.  The  scene  in 
the  picture  represents  one  of  his  favorite  moods. 
An  old  scholar  is  sitting  by  the  running  brook 
with  books  at  his  side  and  attended  only  by  a 
servant.  Wen’s  paintings  are  full  of  gentle- 
ness and  charm. 


54 

A Landscape 

By  Wen  Cheng-ming  (about  A.  D.  1550) 
Ming  Dynasty 

See  No.  53. 


55 

Classic  Gem 

By  Ch’iu  Ying  (about  A.  D.  1556) 

Ming  Dynasty 

Ch’iu  Ying,  known  as  Ch’iu  Shih-chou,  was  a 
distinguished  painter  of  human  figures.  His 
work  is  highly  prized  and  has  been  copied  more 
frequently  than  that  of  any  other  artist  of  the 
Ming  Dynasty.  The  silk  on  which  this  picture 
is  painted  is  of  the  same  yellow  hue  which  Ch’iu 
Ying  always  used  in  his  work. 


34 


Catalogue  of  Chinese  Paintings 
56 

The  Arhat 

By  Cheng  Chung  (about  A.D.  1500) 

Ming  Dynasty 

Cheng  Chung  lived  at  Nanking.  He  was 
fond  of  making  copies  of  Buddhistic  paintings 
in  the  style  of  the  Sung  and  Yuan  Dynasties, 
and  was  himself  a devoted  disciple  of  Buddhism. 


57 

Watching  the  Fountain 
By  Chii  Chieh  (A.D.  1550) 

Ming  Dynasty 

Chii  Chieh  was  a pupil  of  Wen  Cheng-Ming, 
whose  style  he  followed.  This  picture  has  an 
annotation  by  the  Emperor  Ch’ien  Lung  and 
one  by  the  artist  in  which  he  explains  that  this 
is  the  first  picture  made  by  him  after  a prolonged 
illness. 


58 

A Moonlit  Valley 
By  Ku  1-teh  (about  A.  D.  1650) 

Ming  Dynasty 

Ku  1-teh  painted  in  the  style  of  Wang  Meng 
— Yellow  Crane,  of  the  Yuan  Dynasty.  This 
picture  is  a reproduction  of  one  by  Wang  Meng 

35 


Catalogue  of  Chinese  Paintings 

and  faithfully  represents  the  work  of  the  original 
artist.  Ku  I-teh  was  a contemporary  and 
townsman  of  Tung  Ch'i-ch'ang,  whose  annota- 
tion is  at  the  right-hand  upper  corner  of  this 
picture.  Both  were  natives  of  Sung-kiang  near 
Shanghai. 


59 

An  Autumnal  Grove 
By  Lu  Chi  (A.D.  1496-1576) 

Ming  Dynasty 

This  landscape  is  in  the  style  of  Ni  Tsan  of  the 
Y iian  Dynasty.  Lu  Chi  is  one  of  the  best  artists 
of  the  Ming  Dynasty.  His  landscapes  are 
rarely  found,  as  his  work  more  frequently  de- 
picted flowers  and  birds,  bamboos  and  rocks. 
This  specimen  has  suffered  from  the  ravages 
of  mildew. 


60 

Domestic  Felicity 
By  Ts’ui  Tsu-chung  (A.  D.  1630) 

Ming  Dynasty 

The  artist  was  a native  of  Shantung  Province 
but  removed  southward  in  order  to  study 
under  Tung  Ch’i-ch’ang  (see  63).  He  was  an 
ascetic  and  wore  clothes  which  were  made  after 

36 


Catalogue  of  Chinese  Paintings 

ancient  styles.  In  this  picture  the  clothes  are 
in  the  style  of  the  T’ang  Dynasty. 

61 

A Leave-taking  at  the  Riverside 
By  Ting  Yun-p'eng  (about  A.  D.  1575) 
Ming  Dynasty 

Ting  Yun-p’eng  is  more  often  spoken  of  as 
Ting  Nan-yiu,  which  means  “Ting  of  the  South- 
ern Plumes.'’  He  was  a painter  of  Buddhistic 
scenes,  but  more  frequently  he  represented  land- 
scapes in  which  he  placed  human  figures.  The 
studied  details  of  these  figures  indicate  that  the 
artist  used  landscape  only  as  a background  for 
his  figures.  The  signature  and  seals  of  the 
artist  are  attached  to  this  picture. 

62 

A Cockatoo 

By  Lady  Ch’en  (about  A.  D.  1600) 

Ming  Dynasty 

Lady  Ch'en,  in  the  later  years  of  her  life, 
signed  her  pictures  by  the  name  of  Nan-lou 
Lao-jen,  '‘The  Old  Lady  of  the  Southern  Tur- 
ret.” She  excelled  as  a painter  of  flowers  and 
birds.  From  her  home  at  Hai-ning,  east  of 
Hangchow,  she  sold  her  pictures  to  support  her- 
self and  those  dependent  upon  her.  Her  work 
has  been  highly  praised  by  later  artists. 

37 


Catalogue  of  Chinese  Paintings 
63 

A Landscape 

By  Tung  Ch’i-ch’ang  (about  A.  D.  1650) 
Ming  Dynasty 

Tung  is  a favorite  artist,  and  is  known  also  by 
the  names  Tung  Wen-min,  Tung  Hsiang- 
kuan,  and  Tung  Sze-ung.  His  pictures  are 
usually  signed  Tung  Hsien-tsai.  Fond  of  liter- 
ary pursuits,  he  rose  to  the  high  position  of 
President  of  the  Board  of  Rites.  His  home  was 
at  Sung-kiang  near  Shanghai.  His  landscapes 
are  characterized  by  beauty  and  grace  rather 
than  sublimity  and  strength.  He  copied  the 
great  artists,  and  this  picture,  according  to  his 
own  annotation,  is  modeled  after  the  style  of 
Huang  Kung-wang. 

Tung  is  generally  considered  to  have  been  the 
greatest  of  the  Ming  Dynasty  artists. 


64 

Mountain  Scenery  after  the  style 
of  Mi  Fei  A.  D.  1051-1107) 

By  Tung  Ch’i-ch’ang 
Ming  Dynasty 

Tung  Ch’i-ch'ang  has  left  this  picture  after  the 
style  of  Mi  Fei.  Mountains  partially  covered 
with  clouds  and  mist  were  favorite  subjects 
with  Mi  Fei.  Genuine  specimens  of  Mi’s  work 

3« 


Catalogue  of  Chinese  Paintings 

are  almost  unknown,  so  that  this  reproduction 
of  the  style  of  his  work  by  a great  artist  is  valu- 
able. 

See  No.  63. 


65 

A Landscape 
By  Wen  Pai-jen  (A.D.  1550) 

Ming  Dynasty 

The  artist  was  a nephew  of  Wen  Cheng-ming 
and  his  work  is  considered  to  be  not  inferior  to 
that  of  his  uncle,  who  was  his  teacher.  The 
landscape  is  that  of  central  China,  where  the 
hills  are  not  so  rugged  as  those  of  the  north, 
found  in  the  pictures  by  Kuo  Hsi. 

See  No.  19. 


66 

The  Divining  Beggar 
By  Wu  Wei  (about  A.D.  1475) 

Ming  Dynasty 

Wu  Wei  is  more  generally  spoken  of  as  Wu 
Hsiao-hsien.  Though  also  a landscape  painter, 
he  excelled  in  the  painting  of  human  figures. 
He  was  an  excellent  penman  and  attained  the 
highest  literary  degree.  He  was  a great  favorite 
at  court,  as  he  was  able  to  paint  offhand  on  fes- 
tive occasions.  This  scroll  bears  the  seals  of 
the  Emperor  Ch’ien-lung. 

39 


Catalogue  of  Chinese  Paintings 

67 

Fishing  with  Family 
By  an  Unknown  Artist, 

Ming  Dynasty 

An  angry  fisherman  is  scolding  his  wife,  who 
is  engaged  in  paying  out  the  line  while  annoyed 
at  the  same  time  by  the  pranks  of  a small  son. 
The  boat  is  being  carried  to  and  fro  by  currents. 

68 

Western  Garden 
By  an  Unknown  Artist 
Ming  Dynasty 

The  Western  Garden  where  noted  literary  men 
are  represented  as  gathering  for  friendly  dis- 
course and  companionship  has  been  a favorite 
theme  with  artists.  Paintings  of  this  garden 
were  made  by  Li  Lung-mien,  Chao  Meng-fu 
and  Ch’iu  Ying.  This  picture  was  probably 
painted  by  a pupil  of  Ch’iu  Ying. 

69 

Making  the  Toilet 
By  an  Unknown’^Artist 
Ming  Dynasty 

The  seal  of  the  owner  of  this' picture  on  the 
upper  left  hand  corner  has^been'^cut  out,  prob- 
ably because  he  had  fallen  into  official  disgrace 

40 


Catalogue  of  Chinese  Paintings 

or  bore  a bad  reputation.  The  famous  con- 
noisseur of  the  Ming  Dynasty,  Yen  Sung  (i  568), 
usually  attached  his  seal  to  the  pictures  owned 
by  him.  After  his  dismissal  from  office  by  the 
Emperor  and  the  confiscation  of  his  property  it 
became  customary  to  cut  off  his  seals  from  pic- 
tures, to  which  they  had  been  attached,  in  token 
of  disapproval  of  his  treacherous  conduct. 

This  picture  is  a good  example  of  the  genre 
of  the  Ming  Dynasty.  Pictorial  art  in  China 
reached  its  lowest  level  in  this  class  of  paintings. 

70 

A Landscape  after  the  style  of  Li 
Ch’eng 

By  Wang  Hui  (about  A.  D.  1632-1720) 
Ch’ing  Dynasty 

Wang  Hui,  known  generally  as  Wang  Shih- 
ku,  was  one  of  the  four  Wangs  who  are  univer- 
sally considered  to  stand  foremost  among  the 
artists  of  the  late  Ch’ing  Dynasty.  Of  these 
four  men  Wang  Shih-ku  is  the  most  popular 
and  his  authentic  works  are  most  eagerly  sought 
after.  Having  by  nature  an  artistic  tempera- 
ment, he  early  began  the  study  of  the  great 
masters  whose  work  he  faithfully  copied. 
He  lived  to  a ripe  old  age,  this  picture  having 
been  painted  by  him  when  he  was  seventy-one 
years  old;  this  fact  is  attested  both  by  his  seal 
and  by  his  handwriting. 

41 


Catalogue  of  Chinese  Paintings 


71 

A Landscape 

By  Wang  Hui  (about  A.D.  1632-1720) 
Ch’ing  Dynasty 

See  No.  70. 


72 

A Rest  House  amid  Bamboos 
By  Wang  Hui  (A.  D.  1632-1720) 

Ch’ing  Dynasty 

This  is  a reproduction  by  Wang  Hui  of  a 
picture  painted  by  T’ang  Yin  of  the  Ming 
Dynasty.  Wang  Hui  was  a diligent  student  of 
the  masters  of  earlier  dynasties;  and  though  he 
could  not  equal  them,  he  succeeded  in  catching 
much  of  their  spirit.  His  paintings  exhibit 
delicate  refinement  rather  than  boldness  or 
strength. 

See  Nos.  70  and  71. 


73 

A Landscape 
By  Wu  Li  (A.  D.  1632-17) 

Ch’ing  Dynasty 

Wu  Li,  known  as  Mo-tsing,  the  four  Wangs, 
and  Yun  are  classed  as  the  Six  Great  Artists  of 
the  Ch’ing  Dynasty. 

Specimens  of  Wu’s  work  are  rare,  and  highly 
42 


Catalogue  of  Chinese  Paintings 

prized  on  account  of  the  beautiful  handwriting 
with  which  he  always  annotated  his  pictures. 
In  one  of  his  paintings  he  collaborated  with 
Wang  Shih-ku.  He  became  a convert  to 
Christianity,  and  was  a catechist  in  the  Siccawei 
Mission,  Shanghai,  for  several  years. 

He  died  at  Siccawei  and  is  buried  outside  of 
the  South  Gate  of  Shanghai. 

74 

Orchid  Pavilion  or  Lan  T’ing 
By  Hua  Yen  (17th  cent) 

Ch'ing  Dynasty 

Hua  Yen  is  usually  spoken  of  by  his  pen-name 
Hsin  Lo.  A native  of  the  mountainous  districts 
of  Fukien  Province,  he  spent  many  years  of  his 
life  in  the  fertile  plains  of  Yangchow.  His  work 
is  valued  on  account  of  its  combination  of  charm 
with  strength  of  execution. 

See  No.  27,  where  the  same  subject  has  been 
painted  by  a great  artist,  Chao  Pai-chii. 

75 

A Landscape 

By  Yun  Shou-p’ing  (A.  D.  1633-1690) 
Ch’ing  Dynasty 

Yun  Shou-ping,  or  Yun  Nan-t’ien  as  he  is 
more  generally  styled,  was  a native  of  Wu-tsing, 
Changchow,  on  the  Grand  Canal  north  of 

43 


Catalogue  of  Chinese  Paintings 

Soochow.  He  came  from  a distinguished  literary 
family  and  early  devoted  himself  to  painting. 
He  tried  to  excel  Wang  Shih-ku  as  a painter  of 
landscape,  but  finally  gave  up  the  attempt 
saying  that  he  was  not  ashamed  to  take  second 
place.  In  his  later  life  he  painted  chiefly  flowers 
in  bud  and  bloom.  Genuine  specimens  of  his 
landscape  work  are  very  rare. 


76 

Flowers  and  Rocks 
By  Hua  Yen  (17th  century) 
Chhng  Dynasty 

See  No.  75. 


77 

Deer  Horns 

By  the  Emperor  Ch’ien  Lung 
Ch'ing  Dynasty 

This  pair  of  scrolls  is  not  only  an  example  of 
the  artistic  ability  of  the  Emperor  Ch’ien  Lung, 
but  also  illustrates  the  fondness  for  out-door 
life  which  characterized  the  early  Emperors  of 
the  late  Manchu  Dynasty.  The  first  scroll 
represents  the  horns  of  a stag  killed  by  the 
Emperor  K’ang  Hsi  in  1710  during  one  of  his 
hunting  trips  near  the  Great  Wall.  The  horns 
are  described  as  having  been  7 feet  9 inches  from 

44 


Catalogue  of  Chinese  Paintings 

tip  to  tip.  The  second  scroll  illustrates  the 
fact  that  deer  do  not  always  drop  their  horns 
in  early  summer  but  that  this  sometimes 
happens  in  winter.  An  instance  of  this  came 
under  the  Emperor’s  personal  observation  in 
the  Southern  Hunting  Park  near  Peking  and 
the  incident  is  described  in  the  annotation. 
The  annotations  of  both  scrolls  are  in  the  hand- 
writing of  the  Emperor  Ch’ien  Lung. 

78 

A r h a t s 

By  Tao-tsi  (about  A.  D.  1650) 

Ch’ing  Dynasty 

Tao-tsi  was  a monk  and  worked  under  several 
names,  of  which  the  most  widely  known  are 
Shih-tao  and  Ta-t’i-tsz.  He  traveled  widely 
in  Kiangsu  and  Chehkiang  provinces.  He  was 
a prolific  artist,  fond  of  landscapes  and  por- 
traitures. This  scroll  is  after  the  style  of  Li 
Lung-mien  of  the  Sung  Dynasty. 


79 

A Hunting  Scene 

By  Joseph  Castiglione  (Lang  Shih-ning),  a 
Portuguese  (1698-  ) 

Castiglione  was  a court  painter  during  the 
reign  of  the  Emperor  Ch’ien  Lung.  He  studied 
45 


Catalogue  of  Chinese  Paintings 

Chinese  painting,  and  under  the  orders  of  the 
Emperor  attempted  to  combine  Western  and 
Chinese  standards  by  painting  animals  in  a 
landscape  according  to  Western  methods,  while 
the  landscape  itself  followed  Chinese  standards. 


8o 

Fawn  at  Play 

By  Joseph  Castiglione  (Lang  Shih-ning),  a 
Portuguese  ( 1 698-  ) 

See  No.  79.  A Hunting  Scene  by  the  same 
author. 


81 

A Landscape 

By  Lo  Ping  (about  A.  D.  1733-1799) 
Chhng  Dynasty 

A native  of  Yangchow,  Lo  Ping  is  more  gen- 
erally known  as  Lo  Liang-fen  or  “ Lo  of  the  Two 
Peaks.”  He  was  fond  of  painting  demons  and 
sprites,  but  his  best  work  was  in  his  landscapes, 
in  which  he  followed  the  style  of  Wang  Shih-ku. 

82 

A Landscape 
By  Tan  Sung 
Chhng  Dynasty 

This  is  in  the  style  of  Kuo  Hsi. 

46 


Catalogue  of  Chinese  Paintings 

83 

A Landscape 
By  T'ang  I-fen 
Ch’ing  Dynasty 

T’ang  I-fen  (T’ang  Yu-seng)  was  a native  of 
Wu-tsing,  Changchow,  on  the  Grand  Canal, 
but  spent  most  of  his  life  at  Nanking,  where  he 
perished  in  1853  during  an  assault  on  the  city 
by  the  Tai-ping  rebels.  In  addition  to  his  land- 
scapes he  was  fond  of  painting  peach  blossoms 
and  other  blooming  flowers. 

84 

A Landscape 

By  Chang  Keng  (about  A.D.  1725) 
Ch’ing  Dynasty 

Chang  Keng  was  the  compiler  of  a history 
of  art,  Hua  Cheng  Lu.  He  was  not  a famous 
painter,  but  this  picture  is  interesting  on  ac- 
count of  its  being  the  work  of  a man  who  was 
familiar  with  the  best  specimens  of  pictorial  art. 


47 


Albums 


85 

Sung  Yiian  Album 
Sixteen  paintings  by  various  artists 

(a)  Worship  of  Kwan  Yin.  Unsigned;  by  an 

artist  of  the  Sung  Dynasty  after  the 
style  of  Wu  Tao-tzu 

(b)  Listening  by  the  Fountain.  Unsigned; 

probably  by  Chao  Chhen-li  or  his  brother 
Chao  Hsi-yiian,  relatives  of  the  founder 
of  the  Sung  Dynasty  (A.D.  960) 

(c)  A Palace.  Unsigned;  probably  by  Li 

Tang  (about  A.  D.  1100).  Sung  Dynasty 

(d)  Welcome  to  the  Dew.  Unsigned;  prob- 

ably by  Hsii  Tao-ning  (about  A.  D.  1000). 
Sung  Dynasty 

(e)  Autumnal  Hills.  By  Chou  Mi  (about 

A.  D.  1125).  Sung  Dynasty 

(f)  The  Palace  in  the  Woods.  By  Yen  Wen- 

kuei  (about  A.  D.  1000).  Sung  Dynasty 

This  small  picture  bears  the  seal  of 
the  Emperor  Hsiian-ho.  The  painter 
49 


Catalogue  of  Chinese  Paintings 

Yen  was  a favorite  of  the  founder  of 
the  Sung  Dynasty,  who  promoted  him 
to  be  a member  of  the  Imperial  Acad- 
emy of  painting.  Examples  of  his 
works  are  rare. 

(g)  Sea-shore.  Probably  by  Hsii  Ching  (about 

A.  D.  I loo).  Sung  Dynasty 

Hsii  Ching  was  the  favorite  of  the 
Emperor  Hsuan-ho,  who  promoted  him 
to  a high  position  in  the  capital  and 
afterwards  appointed  him  Minister  to 
Korea. 

(h)  A River  Bridge.  After  the  style  of  Ma 

Yiian  (about  A.  D.  1200).  Sung  Dynasty 

(i)  Wind  Blown.  After  the  style  of  and  prob- 

ably by  Chao  Ch’ang  (about  A.  D.  1025). 
Sung  Dynasty. 

The  exquisite  coloring  of  this  picture 
makes  it  a rare  example  of  the  highest 
quality  of  the  Sung  Dynasty  pictorial  art. 

(j)  Hydrangeas.  By  Huang  Chii-tsai  (about 

A.  D.  1000).  Sung  Dynasty 

Huang  Chii-tsai  was  the  son  of  the 
great  artist  Huang  Chiian,  who  was  him- 
self famous  for  his  paintings  of  birds  and 
flowers.  This  painting  bears  an  annota- 
tion by  the  Emperor  Hui-tsung. 

50 


Catalogue  of  Chinese  Paintings 

(k)  A Bunch  of  Purple  Lichees.  By  Hsii 

Tsung  (about  A.  D.  1050).  Sung  Dy- 
nasty 

Hsii  Tsung  was  a grandson  of  Hsii 
Hsi,  the  noted  painter.  This  picture 
is  annotated  by  the  Emperor  Hui  Tsung 
(1100-1126)  of  the  Sung  Dynasty  in  his 
own  handwriting. 

(l)  The  Light  of  Spring.  Probably  the  work 

of  Wang  Yin  (Wang  Chung-i).  Sung 
Dynasty 

Wang  Yin  was  a pupil  of  Chao  Ch’ang. 

(m)  Autumnal  Splendor.  By  Rung  Chu-fai. 

Sung  Dynasty 

(n)  Fish  at  Play.  By  Chao  K’eh-hsiung. 

Sung  Dynasty 

(o)  The  Moaning  of  the  Monkey.  Probably 

by  the  artist,  Wen  Hsin.  Yiian  Dynasty 
In  imitation  of  Japanese  work. 

(p)  The  Tiger  at  the  Fountain.  Probably 

by  Pao  Ting.  Sung  Dynasty 

86 

Sung  Yuan  Album 
Twelve  paintings  by  various  artists 

(a)  The  Orchid  Pavilion  Restored.  By  Li 
Lung-mien  (about  A.  D.  1100).  Sung 
Dynasty 


51 


Catalogue  of  Chinese  Paintings 

(b)  Red  Lichees.  By  Emperor  Hui  Tsung 

(A.  D.  1 101-1126).  Sung  Dynasty 

(c)  Purple  Lichees.  By  Emperor  Hui  Tsung 

(A.  D.  1 101-1126).  Sung  Dynasty 

(d)  Bamboos.  By  Su  Shih  (A.  D.  1036-1101). 

Sung  Dynasty 

(e)  A Sketch.  By  Chang  Ko-kuam  (about 

A.  D.  1350).  Yuan  Dynasty 

(f)  A Mountain  Turret.  By  Li  Sung.  Sung 

Dynasty 

(g)  A Sketch.  By  Wu  Ping.  Sung  Dynasty 

(h)  Emit  and  Elowers.  By  1 Yiian-chi  (about 

A.D.  1050).  Sung  Dynasty 

(i)  A Pastoral  Scene.  By  Li  Ti  (about  A.  D. 

1125).  Sung  Dynasty 

(j)  A Sketch.  By  Hsia  Kuei  (about  A.  D. 

1200).  Sung  Dynasty 

(k)  The  Guitar.  By  Wu  Ping.  Sung  Dy- 

nasty 

(l)  The  Lonely  Stork.  By  Chao  Chung-mu 

(about  A.D.  1250).  Yiian  Dynasty 

87 

Sung  Album 
By  1 Yiian-chi  (see  No.  18) 

Album  containing  twelve  author’s  proofs  for 
the  backs  of  bronze  mirrors  which  were  much 
used  in  the  Sung  Dynasty.  It  is  probable  that 


Catalogue  of  Chinese  Paintings 

the  conventional  border  around  the  designs  was 
made  by  some  one  other  than  the  artist,  I 
Yuan-chi,  who  painted  the  pictures. 

(a)  The  Astrologer 

(b)  One  of  the  Genii 

(c)  Unicorn 

(d)  White  Elephant 

(e)  Chien  Lo 

(f)  Feng  Lai 

(g)  The  Three  Hills 

(h)  The  Lonely  Tower 

(i)  Keng  Chi 

(j)  Ripe  Peaches 

(k)  Cinnamon 

(l)  Evergreen 

88 

Album 

Containing  Eleven  Paintings 
By  various  artists 

(a)  Washing  a Horse.  By  Lu  Ch’ing  (A.  D. 

1200).  Sung  Dynasty 

(b)  Pomegranates.  By  Ma  Lin  (A.  D.  1250). 

Sung  Dynasty 

(c)  The  Flower  Vendor.  By  an  unknown 

artist.  Sung  Dynasty 

(d)  Bamboos.  By  Kuan  Fu-jen,  wife  of 

Chao  Meng-fu  (A.  D.  1254-1323).  Yiian 
Dynasty 


53 


Catalogue  of  Chinese  Paintings 

(e)  A Landscape.  By  Ts'ao  Chih-pai  (A.  D. 

1250).  Sung  and  Yiian  Dynasties 

(f)  A Rabbit.  By  Wang  Yiian  (A.  D.  1330). 

Yuan  Dynasty 

(g)  A Landscape.  Attributed  to  Chao  Meng- 

fu  (A.  D.  1254-1323).  Yiian  Dynasty 

(h)  Caribou.  Attributed  to  Li  T'ang  (A.  D. 

1200).  Sung  Dynasty 

(i)  A Landscape.  By  Ma  Wan  (A.  D.  1350). 

Ming  Dynasty 

(j)  Serenity.  Attributed  to  Chao  Fei  (about 

A.  D.  1200).  Sung  Dynasty 

(k)  A Landscape.  By  an  unknown  artist. 

Ming  Dynasty 


89 

Album  of  Flowers  and  Birds 


Twelve  paintings  by  various  artists 
Sung  and  Yuan  Dynasties 


90 

Album  of  the  Ten  Disciples  of  Buddha 
Ten  paintings  by  Sung  (A.  D.  Hsii  1575) 
Ming  Dynasty 


54 


Catalogue  of  Chinese  Paintings 


91 

Album  of  Fans 
Ming  Dynasty 

Volume  I (with  woven  silk  picture  of  a deer  on 
the  cover).  Twenty-four  paintings  and 
writings  by  various  artists 

(a)  Written  by  Tung  Ch’i-ch’ang 

(b)  Painted  by  Shen-chou 

(c)  Written  by  Fan  Yuan-ling 

(d)  Painted  by  Ch’en  Chi-ch’un 

(e)  Written  by  Ch’en  Ch’i-ju 

(f)  Painted  by  Wu  Pin 

(g)  Written  by  Li  Ch’iao 

(h)  Painted  by  Shao  Mi 

(i)  Written  by  Wen  Tsung-chien 

(j)  Painted  by  Chang  Chung 

(k)  Written  by  Yuan  Yung-chi 

(l)  Painted  by  Chi  Chien-chia 

(m)  Written  by  Chou  Tien-chin 

(n)  Painted  by  Sie  Shih-chou 

(o)  Written  by  Chen  Hung-shou 

(p)  Painted  by  Pan  Yun-i 

(q)  Written  by  Yang  Wen-tsung 

(r)  Painted  by  Chuang  Hui-seng 

(s)  Written  by  Kung  Ting-tzu 

(t)  Painted  by  Wen  Chih 

(u)  Written  by  Wang  Mou-Ling 

(v)  Painted  by  Han  Tao 

55 


Catalogue  of  Chinese  Paintings 

(w)  Written  by  Yiian  Ta-chen 

(x)  Painted  by  Chen-kuo 


92 

Album  of  Fans 
Ming  Dynasty 

Volume  2 (with  woven  silk  picture  of  a stork 
on  the  cover).  Twenty-four  paintings 
and  writings  by  various  artists 

(a)  Written  by  Ch'a  Szu-piao 

(b)  Painted  by  Lu  K’eh-ch’eng 

(c)  Written  by  Wen  Tao-ch’eng 

(d) “  Painted  by  Wen  Cheng-ming 

(e)  Written  by  Ch’en  Tao-fu 

(f)  Painted  by  Sung  Hsii 

(g)  Written  by  Ch’en  Ming-hsia 

(h)  Painted  by  T’ang  Yin 

(i)  Written  by  Wang  To 

(j)  Painted  by  Hsiang  Sheng-mo 

(k)  Written  by  Wen  San-chhao 

(l)  Painted  by  Lang-tan 

(m)  Written  by  Wang  Chih 

(n)  Painted  by  Lu  Chih 

(o)  Written  by  Peng  Nien 

(p)  Painted  by  Sung  Mo-tsin 

(q)  Written  by  Wang  Ch’ung 

(r)  Painted  by  Lan  Ying 

56 


Catalogue  of  Chinese  Paintings 

(s)  Written  by  Wu  K'uang 

(t)  Painted  by  Cheng  Chia-sui 

(u)  Written  by  Wen  Ch’eng-ming 

(v)  Painted  by  Wen  Chia 

(w)  Written  by  Yii  Lien-ju 

(x)  Painted  by  Li  Liu-fang 

93 

Album  of  Fans 
Ching  Dynasty 
Six  paintings  by  various  artists 

(a)  Painted  by  Wang  Hui  (A.D.  1632-1720). 

The  name  of  this  painting  is  “Studying.'' 
According  to  the  statements  of  the  artist, 
it  is  a reproduction  of  the  work  by  Yen 
Wen-kuei  of  the  Sung  Dynasty 

(b)  Painted  by  Wang  Yuan-chi  (A.D.  1642- 

1715).  This  fan  was  painted  by  Wang 
during  his  residence  in  Peking,  where  he 
held  high  office 

(c)  Painted  by  Wang  Shih-ming  (A.D.  1592- 

1680) 

(d)  Painted  by  Wang  Chien.  (A.D.  1598- 

1677).  This  picture  is  after  the  style  of 
the  Emperor  Hui  Tsung  of  the  Sung 
Dynasty 

(e)  Painted  by  Wang  Hui  (A.D.  1632-1720). 

The  artist  states  that  this  picture  was 
57 


Catalogue  of  Chinese  Paintings 

painted  by  him  when  he  was  seventy- 
five  years  old  (A.D.  1707).  It  is  after 
the  model  of  the  famous  picture  entitled 
“Gathering  Water  Chestnuts “ by  Ch’iu 
Ying 

(f)  Painted  by  Yun  Shou-p'ing  (A.  D.  1633- 
1690).  Landscape  scenes  by  this  artist 
are  rare,  his  work  consisting  chiefly  of 
paintings  of  flowers.  In  the  annotation 
written  by  his  own  hand,  he  eulogizes 
the  landscape  paintings  of  Mi  Fei  and 
Ni  Tsan 


94 

Students'  Album 

Twelve  paintings  by  Tsao  Jun  (about  A.D. 
_ 1750). 

Ching  Dynasty 


(a) 

Style 

of 

Wang  Wei 

(b) 

Style 

of 

Tung  Yuan 

(c) 

Style 

of 

Kuo  Hsi 

(d) 

Style 

of 

Wang  Meng 

(e) 

Style 

of 

Li  Ch'eng 

(f) 

Style 

of 

Kao  K’o-Kung 

(g) 

Style 

of 

Liu  Sung-nien 

(h) 

Style 

of 

Ts’ao  Chih-pai 

(i) 

Style 

of 

Chao  Meng-fu 

(j) 

Style 

of 

Huang  Kung-wang 

(k) 

Style 

of 

Huang  Kung-wang 

(1) 

Style 

of 

Shen  Chou 

58 


Catalogue  of  Chinese  Paintings 


95 

Album 

In  the  style  of  Li  Lung-Mien  (lo  leaves) 


59 


K’o  Ssu 


K’o  Ssu  may  be  described  as  tapestry  or  silk- 
woven  pictures.  The  models  for  these  pictures 
were  made  by  artists  and  the  weaving  was  done 
with  the  picture  in  front  of  the  artisan.  The 
warp  or  woof  was  broken  off  at  the  point  where 
a change  of  color  was  desired  and  a new  thread 
attached.  Such  work  is  commonly  used  in 
fabrics  designed  to  make  court  dresses,  but  good 
examples  of  this  kind  of  pictures  are  rare.  Dur- 
ing the  Sung  Dynasties  there  were  two  great 
artists,  Chu  Ko-gui  and  Shen  Tzu-fan,  who  could 
both  make  their  own  designs  and  do  the  manual 
work  of  weaving. 

1.  A Brace  of  Reeves  Pheasants.  Sung  Dy- 

nasty 

2.  Flowers,  after  the  model  of  Tsui  P’ai,  of 

the  Sung  Dynasty.  Ming  Dynasty 

3.  Flowers.  Sung  Dynasty 

4.  A Landscape.  Ming  Dynasty 

5.  A Fishing  Scene.  Ming  Dynasty 

6.  Longevity.  Ming  Dynasty 

7.  The  Four  Seasons.  1 8th  century 

61 


Catalogue  of  Chinese  K'o  Ssu 

8.  Four  Panels 

(a)  Kuan-yiieh  Tower 

(b)  A Grove  Fountain 

(c)  A Pagoda 

(d)  A Pool 

9.  Twelve  Panels,  representing  one  continu- 

ous scene  of  life  in  the  courtyards  of  a 
Palace 


62 


Appendix 


Appendix 


List  of  Chinese  Dynasties 

Shang  Dynasty,  1766-1122  B.  C. 

Chow  Dynasty,  1 122-255  B.  C. 

Han  Dynasty,  206  B.C.-220  A.  D. 

Wei  Dynasty,  220-264  A.  D. 

Tsin  Dynasty,  264-420  A.  D. 

Six  Dynasties,  420-618  A.  D. 

T’ang  Dynasty,  618-906  A.D. 

Five  Dynasties,  907-960  A.  D. 

Sung  Dynasty,  960-1277  A.  D. 

Yuan  Dynasty,  1277-1368  A.  D. 

Ming  Dynasty,  1368-1644  A.  D. 

Ching  Dynasty,  1644-1911  A.  D. 


65 


Appendix 


Divisions  of  Chinese  Paintings 

As  given  in  the  Hsiian  Ho  Hua  P’u,  the  Imperial 
Collection  of  Hui  Tsung  (A.  D.  i loi-i  125), 
of  the  Sung  Dynasty 

1.  Buddhistic  and  Taoist  Scenes 

2.  Human  Figures 

3.  Palaces  and  Houses 

4.  Barbarian  Life 

5.  Dragons  and  Fish 

6.  Landscapes 

7.  Animals 

8.  Birds  and  Flowers 

9.  Bamboos 

10.  Fruit  and  Vegetables 


Classification  of  Paintings 

It  is  customary  with  Chinese  connoisseurs 
to  divide  paintings  into  three  general  classes — 
— Shen,  Miao  and  Neng.  Each  of  these  three 
is  divided  into  three  sub-classes — superior, 
medium  and  inferior.  This  classification  is 
recorded  by  Chu  Ching-hsuan  (about  A.D. 
1000)  in  his  Ming  Hua  Lu  and  was  later  ex- 
plained by  Hsia  Wen-yen  in  his  T’u  Hui  Pao 
Chien  as  follows: 

I . Shen  pictures  are  those  in  which  the  heaven- 
inspired  quality  of  vitality  is  found. 

66 


Appendix 

2.  Miao  pictures  are  those  in  which  the  brush- 

work  is  of  a high  order,  where  the  colors 
are  harmonious  and  where  there  is  grace 
or  charm. 

3.  Neng  pictures  are  those  in  which  strength 

is  found  without  sacrifice  of  form. 

A fourth  class,  1,  is  sometimes  given  but  its 
use  has  not  been  uniform.  The  usual  custom 
allows  only  three  classes. 


The  Six  Canons 

Suggested  by  Hsieh  Ho  (A.D.  475) 

1 . The  conception  should  possess  harmony  and 

vitality. 

2.  The  brush  should  be  used  to  establish  the 

structural  framework. 

3.  The  outline  should  conform  to  the  shape  of 

the  objects. 

4.  The  coloring  should  be  suitable  to  the  varied 

forms. 

5.  The  perspective  should  be  correctly  con- 

ceived. 

6.  The  representation  should  be  in  conformity 

with  the  style  selected. 


67 


Appendix 


The  Six  Necessities 

Suggested  by  Lin  Tao-chuan  (about  A.D.  1050) 

1.  Vitality  of  conception  must  be  combined 

with  strength. 

2.  Strokes  of  the  brush  must  be  firm. 

3.  Peculiarities  of  method  should  be  in  accord- 

ance with  reasonableness. 

4.  Colors  should  be  harmonious. 

5.  The  brush  must  be  handled  with  ease. 

6.  In  copying  leave  out  all  that  is  inferior. 

The  Three  Faults 

Suggested  by  Kuo  Ju-Jui  (about  A.D.  1 100) 

1.  A weak  wrist,  which  results  in  a stupid 

brush.  Equilibrium  is  lacking,  objects 
have  a flat  appearance  and  cannot  be 
represented  in  relief. 

2.  Lack  of  decision,  when  the  mind  and  hand 

are  not  in  accord.  Such  painting  only 
produces  angles. 

3.  Without  progression.  Development  is  nec- 

essary but  does  not  come.  Something 
seems  to  hold  back  the  brush  and  prevent 
free  movement. 


68 


Bibliography 


Friedrich  Hirth.  Scraps  from  a Collector's 
Note  Book,  1905. 

Herbert  A.  Giles.  History  of  Chinese  Pictorial 
Art,  1905. 

Sei-ichi  Taki.  Three  Essays  on  Oriental  Paint- 
ing, 1910. 

Laurence  Binyon.  Painting  in  the  Far  East, 
1908. 

Ernest  F.  Fenollosa.  Epochs  of  Chinese  and 
Japanese  Art,  1912. 

Laurence  Binyon.  A Painting  by  Ku  K'ai- 
chih,  1912. 

Guide  to  an  exhibition  of  Chinese  and  Jap- 
anese paintings  (4th  to  the  19th  century 
A.  D.).  London,  British  Museum,  1910. 

Ars  Asiatica,  I,  par  Chavannes  et  Petrucci, 
Paris,  1913. 

A Gallery  of  Japanese  and  Chinese  paintings. 
Tokyo,  1908. 

Ch’ing  Ho  Shu  Hua  Fang 
Hsiao  Hsia  Chi,  by  Chiang  Tsun 
Hsiao  Hsia  Chi,  by  Hsin  Chou 
Hsiao  Hsia  Chi,  by  Keng^Tse 
Hsuan  Ho  Hua  P’u 
69 


Bibliography 

Hua  Chan  Shih  Sui  Pi 
Hua  Cheng  Lu 
Hua  Shih  Lui  Ch’uan 
Jang  Li  Kuan 
Ju  Yuing  Lou 
Ku  Yuan 

Lun  Hua  Chiieh  Chii 
Mo  Ylian  Hui  Kuan 
P’ei  Wen  Chai 
Shu  Hua  Chien  Ying 
Si  Ku  Chai 
Theh  Wang  Shan  Hu 
T’u  Hua  Pao  Chien 
T^ung  Yin  Ti  Pa 
Wang  Shih  Shu  Hua  Yuan 
Wu  Sheng  Shih  Shi 


70 


Index 


Nos.  . Nos. 


Ai  Hsiian 24 

Castiglione 79,  80 

Chang  Chung. . . .91  (j) 

Chang  Keng 84 

Ch’ang  K’o  Kuan. 86  (e) 

Chang  Kuan 86  (e) 

Chao  Ch’ang 85  (i) 

Chao  Ch’ien-H. ...  27, 85  (b) 
Chao  Chung-mu . . 39, 86  (!) 

Chao  Fei 88  (j) 

Chao  Hsi-yuen.  . .85  (b) 

Chao  Jung 39, 86  (1) 

Chao  K’eh-hsiung85  (n) 
Chao  Meng-fu.  .35,  36,  37, 

38 

Chao  Pai-chii 27,85  (b) 

Chao  Pai-su 85  (b) 

Chao  Sung-hsiieh . . 35,  36, 

37.  38 

Chen  Kuo 91  (x) 

Cheng  Chia-sui.  . .92  (t) 

Cheng  Chung 56 

Chi  Chien-chia. . .91  (1) 

Ch’ien  Lung 77 

Ch’ien  Hsiian  ...  .40,  41 
Ch’ien  Hsun-chii  .40,  41 

Ch’in  Ying 55 

Chou  Fang 2 (e) 

Chou  Mi 85 


Chii  Chieh 

•57 

Chuang  Hui-seng. 

.91  (r) 

Fan  K’uan 

.14 

Fang  Fang-hu.43 

.45,45  (a) 

Han  Tao 

.91  (v) 

Hsia  Kuei 

.31.86  (j) 

Hsia  Yii-yu 

• 31.86  (j) 

Hsiang  Sheng-mo 

•92  (j) 

Hsin  Lo 

■75. 76 

Hsii  Ching 

.85  (g) 

Hsii  Tao-ning. . . 

.85  (d) 

Hsii  Tsung 

.85  (k) 

Hua  Yen. 

•74. 76 

Huang  Ch’iian . . 

. 1 1 

Huang  Chii-tsai. 

.85  (j) 

Hui  Tsung 

17. 86  (b), 

86  (c) 

1 Yuan-chi 

.16, 86(h) 

Ku  Hung-chung. 

.8 

Ku  1-teh 

.58 

Ku  K’ai-chih... . 

. I 

Kuan  Fu-jen 

.88  (d) 

Kuan  Hsiu 

. 10 

Kung  chii-fei. . . . 

.85  (m) 

Kuo  Chung-shu.. 

.18 

Kuo  Ho-yang — 

. 19,  20,  21 

Kuo  Hsi 

. 19,  20,  21 

Kuo  Lo-yang 

. 16 

Lan  Ying 

.92  (r) 

7' 


I ndex 


Nos. 


Lang  Shih-ning. 

..79, 80 

Lang  T'an 

• -92  (1) 

Li  Ch’eng 

..13 

Li  Kung-lin 

. .25,  26,  96 

Li  Liu-fang 

• -92  (x) 

Li  Sung-mien 

.25,  26,  96 

Li  Pai-shi 

. .25,  26,  96 

Li  Sung 

.86  (f) 

Li  Tang 85  (c),  88  (h) 

Li  Ti 

..86  (i) 

Liu  Sung-nien. . 

..28 

Lo  Liang-fen. . . , 

. .81 

Lo  Ping 

..81 

Lu  Chih 

. -59>  92  (n) 

Lu  Ch’ing 

.88  (a) 

Lu  K’eh-ch’eng. 

..92  (b) 

Ma  Kuei 

. .29 

Ma  Lin 

..88  (b) 

Ma  Wan 

..81  (i) 

Ma  Yiian 

■ -30, 85  (h) 

Ni  Tsan 

.42 

P’an  Yun-i 

..91  (p) 

Pao  Ting 

, .85  (p) 

P’ei  K’uan 

•3 

Shao  Mi 

•91  (h) 

Sie  shih-chen. . . , 

. .91  (n) 

Shen  Chou 

. .5L91  (b) 

Shen  Shih-t’ien. 

. .51,91  (b) 

Su  Shih 

..86  (d) 

Su  T’ung-po.  . . . 

,.86  (d) 

Sung  Hsii 

..90 

Sung  Mo-tsin 

,.92  (p) 

T’an  Sung 

..82 

Tang  I -fen 

..83 

T’ang  Pai-hu. . . 

. .52 

Tao-tsi 

.78 

Tiao  Kuang 

,.9 

Nos. 

Ting  Yun-p’eng, . .61 
Ts’ao  Chih-pai. . .88  (e) 

Tsao  Jun 94 

Ts’ui  Tsu-chung.  .60 
Tung  Ch’i-ch’ang.63,  64 

Tung  Yiian 15 

Wang  Cheng-p’eng . .46 

Wang  Chien 93  (d) 

Wang  Fu 50 

Wang  Hui....70,  71,  72, 
93  (a),  93  (e) 
Wang  Meng-tuan.50 
Wang  Shih-ming..93  (c) 
Wang  Shih-ku.  ..70,  71,  72, 


93  (a),  93  (e) 

Wang  Yin 85  (e) 

Wang  Yuan 88  (f) 

Wang  Yiian-chi. . .93  (b) 
Wen  Cheng-ming.  53,  54, 
92  (d) 

Wen  Chia 92  (v) 

Wen  Chih 91  (t) 

Wen  Hsin 85  (o) 

Wen  Pai-jen 65 

Wu  Chen 43 

Wu  Chung-kuei.  .43 
Wu  Hsiao-hsien..  .66 

Wu  Li 73 

Wu  Pin 91  (f) 

Wu  Ping 86  (g) 

Wu  Tao-tsu 4,  85  (a) 

Wu  Wei 66 

Yang  Shen 6 

YenWen-kuei 22,  85  (f) 

Yun  Nan-t’ien. . . 75,  93  (f) 
Yun  Shou-ping. . .75,  93  (f) 


72 


Of  this  Catalogue 
an  Edition  of  2,500  copies 
was  printed  in  January,  1914. 


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